Memorialised

MemorialisedBy Henri Buffetaut

Didactic exerciseFall semester2010

Interior worlds: Memorialised

Main editor:Gennaro Postiglione

Course of interior architectureFaculty of architettura e societàPolitecnico di Milanowww.lablog.org.ukwww.lablog.org.uk

Editor:Henri Buffetaut

Only for pedagogic purposenot for commercial use

Index00 _ Villa Coilliot

01 _ Victor Horta museum

02 _ The willow tea rooms

03 _ Hill House

04 _ Casa Batllo

05 _ Palais Stoclet

06 _ Villa Fallet06 _ Villa Fallet

07 _ Robbie House

08 _ Fledermaus collection

09 _ Guimard Hotel

10 _ Steiner House

11 _ Casa Milà

12 _ Villa Jeanneret-Perret

13 _ Man with guitar13 _ Man with guitar

14 _ The Mud bath

15 _ Ocean 5

16 _ Le journal

17 _ Red blue chair

18 _ You bore me

19 _ LHOOQ

2 _ Tatlin’s tower

21 _ Hollyhock House 22 _ Amédée Ozenfant house

23 _ Villa Noailles 24 _ 24 _ Villa La Roche

25 _ Vassily chair

26 _ Rudolph Steiner House

27 _ D42 armchair

28 _ Villa Müller

29 _ Barcelona Pavilion

30 _ Villa Tugendhat

31 _ Villa Savoye31 _ Villa Savoye

32 _ Cavrois house

33 _ Lemke House

34 _ Zig zag chair

35 _ Villa le Sextant

36 _ Riihitie House

37 _ Trocadéro

38 _ Gropius house38 _ Gropius house

39 _ Fallingwater

40 _ Le fascinant Cyprès

41 _ Villa Maera

42 _ Rodriguez House

43 _ Barwa lounge chair

44 _ Nogushi C.

45 _ Eames Chair

46 _ Kaufman House

47 _ Nightland

48 _ Casa Barragan48 _ Casa Barragan

49 _ Glass House

50 _ Akari light

51 _ Farnsworth house

52 _ Chandigarh Museum

53 _ Maison Jaoul

54 _ Jean Prouvé House

55 _ Chapelle de Ronchamp55 _ Chapelle de Ronchamp

56 _ Eglise Saint Joseph

57 _ kristian vodder chair 1957

58 _ Norman Cherner chair

59 _ Maison Louis Carré

60 _ Sainte Marie de la Tourette

61 _ Capenter Center

62 _ Vanna Venturi house62 _ Vanna Venturi house

63 _ Église Saint-Julien de Caen

64 _ LACMA

67 _ Norman Fisher house

68 _ Neue National Gallery

69 _ Brion Cemetery

70 _ Cathedral of Brasilia

71 _ Franck Gerry rocking chair71 _ Franck Gerry rocking chair

72 _ Kimbell Art museum

73 _ sydney opera

74 _ Jatiyo Sangshad Bhaban

75 _ Mick Jagger 1975

76 _ Azuma House

77 _ Centre Georges Pompidou

78 _ Gerhy’s house78 _ Gerhy’s house

79 _ New harmony atheneum

80 _ Tower42

81 _ National palace of culture

82 _ Costes chair

83 _ Eaton Centre

84 _ Grace Kelly 1984

85 _ Columbia Center85 _ Columbia Center

86 _ Mount Rokko Chapel

87 _ Arab World Institute

88 _ Latin America Memorial

89 _ Pyramide du Louvre

90 _ Villa d’All Avas

91 _ Niterói Contemporary Art Museum

92 _ Kunsthal92 _ Kunsthal

93 _ Carré d’art

94 _ SFMOMA

95 _ Cathédrale ND de la résurrection

96 _ Bibliothèque François Mitterrand

97 _ Museo Guggenheim Bilbao

98 _ Centre culturel Tjibaou

99 _ Town house (Pablo Katz)99 _ Town house (Pablo Katz)

100_ Cité de la musique

By Barbara Lasic

This essay try to analize the term «memoria-lised» toward the 20th century’s architectu-rals, artistics movements. We shall try to ana-lyze towards these various currents of thought From examples so varied as:- big works of art, - architectural deprived and public commands- religious architecture-DesignIndeed,Indeed, if this concept of " memorialised " met in the big collections or during the big depri-ved architectural commands during the past, the twentieth century, with the industrializa-tion, the standardization saw this one evol-ving. Art, Architecture are the reflection of societies and their evolution translate very often real culturals revolutions. The time of the big private collections, the competitions and the competition between rich does not exist almost any more. Palaces become villas, the architects taken in the currents of their times compete in new ideas and reinter-pret of «memorialised».

This «competition» changes nature, with the historic turnovers appropriate for the twen-tieth century, nations appropriate this concept and observe on the scale of states.

It is very interesting to observe how much the big villas deprived rich industrialists were numerous in the 20s-30s and in which points were this one in the years 60-70 supplanted by big commands of state (museums, operas). The standardization and the mass production redefined new concepts and artis-tictic standards adapted to the needs of middle classes.

An object, a house, an artwork iis not any more intended original but acquires a market value grace in the repetition of this one accessible to the largest number. This social phenomenon is at the origin of the changes which we shall study through these various pages...

Abstract

M e m o r i a l i s e d

M e m o r i a l i s e dBy Henri Buffetaut

Abstract

PaperThe interpretation of domestic interiors is complex, and the relationship between objects and the domestic locus is one that is subjected to continuous redefinitions and interpretations. Interiors cannot just be seen as the reflection of contemporary fashions orthethe product of idiosyncratic aesthetic pur-suits. Scholars have already demonstrated the non aesthetic functions performed by objects, and, say, their political and economic use.

As elemental and often intrinsic constituents of cultural practices, those goods participate in emulative patterns of consumption and are employed as markers of class distinctions and as instruments in the forging of both social andindividual selves.

ThisThis paper proposes to examine how the acquisitions of luxury objects and their inte-gration into the domestic space can be a

product of emulation which allowed indivi-duals to define and construct their social identities. In addition, it will interrogate how the need for social-cultural definition could intersect with the reification of a nostalgia for a past that could not be reclaimed. in other words, the notion of objects as relic ad the constructconstruct of the interior as a text and memo-rialising instrument will be adressed. Expan-ding from this idea, the present paper will also consider how the construction of inte-riors could be employed as acts of self perpe-tuation and inscription within wider biographi-cal and historical narratives.

Social identities are dynamic and fluid and social groups are characterized by changing interests and desires which are constantly projected on to culture. Aristocra-tic art collecting and patronage have been extensively analysed by art, social and eco-nomic historians.

One of the most recurrent concepts to emerge from those studies has been one which stresses the importance of competition in grandeur and rivalry in conspicuous consumption and investment amongst the aristocracy. For instance, the consumption of luxury goods in the Ancien Régime matched requirementsrequirements of rank, and nobles were entan-gled in a system of consumption that used objects to declare their pre-eminence and dif-ference from other social groups. Such works have demonstrated that art collecting, like country house building, was partly rooted in the need to consume in order to keep one’s place in society: high rank entailed the duty to own and display a house which contained appropriate goods such as paintings by the most celebrated masters and rich arrays of objects made of precious materials. Interiors were thus enlisted as a means of expressing the rank and status of their owners; they mademade a splendid demonstration of wealth and power.

However, it would be misleading to argue that acquisitions ofart and their inclusion in the domestic locus spring from similarmotiva-tions, or, say, that collectors acquire objects for similar ends. Fixed and stable relations between cultural practices and groups of people do not exist. It is crucial to understand thatthat those pursuits are embraced by indivi-duals to varying extents, depending on theira-bilities, needs and interests.

Class identities are dynamic and relational, and the consumption of culture is a function of the changing relationships between classes. For instance, late nineteenth-century plutocrats eagerly appropriated the collecting habits validated by generations of patrician connoisseurs. That period of time saw indeed thethe proliferation of Kunstkammers in the houses of the wealthy, as exemplified by the cabinet of curiosity assembled by the dia-mond magnate Julius Wernher in his London residence. Those cabinets functioned as a

a display of wealth and status, but also as evidence of the breadth of learning their owners possessed since their fundamental concept was the structuring and imparting of knowledge. Interiors could thus be the reflec-tion of a competition in luxury while the art collections they contained were associated withwith virtue, learning and discernment and marked the boundaries between polite and vulgar society.

However, the production of the domestic locus should not be exclusively seen as a function of emulation. As Bermingham has observed, models for the consumption of culture must move beyond ideas of emulation to embrace complex workings of aesthetics and fantasy. For instance, in nineteenth-cen-turytury Britain, eighteenthcentury French deco-rative arts were throughout the century envi-saged as the tangible reminders of the French Ancien Régime, they were “the records of (…) a particular period.” Drawing on Elsner’s argument that collecting “is a cult of fragments (…) that stand as (…) metaphors for the world they (…) refer to”; one can argue that the inclusion of those objects in the domestic realm intersected with a “besoin (…) qui seul nous dérobe aux amertumes et brutalités du present.” In other words, a nos-talgia for a vanished past that could not be reclaimed underpinned the formation of some collections. This aspect was particularly salient in the during the regency of the Prince of Wales (later to become George IV), as the events of 1789 and the ensuing wars with Bri-tain made France a physically inaccessible, isolated realm, and the political changes threw the Ancien Régime into sharp and distinct relief as a domain irremediably separa-ted and distant.

The socio-political context in which the Regency collecting of French decorative artswas conducted therefore had not only an impact on the market availability of goods, but also invested objects with a symbolic

resonance.

RoomsRooms and the objects they enshrined thus produced an aesthetic effect and carried a weight of historical affect. Embodying multifa-ceted narratives, interiors invoked and recyc-led the ghosts of history and simultaneously intertwined them with personal histories and atavistic pursuits. Far from disrupting the historical narrative, Interiors were therefore per-formative loci of reconstruction and recollec-tion. Implicit in this is the idea that the mate-rial creation of those spaces was not only confined to the realm of the tangible. Equally important is the concept of the interior as stage whereindividuals could aestheticize, fictionalise and also memorialise their own lives. For ins-tance, the interiors of Fonthill Abbey, the palatial abode of the infamous collector William Beckford, could be read as a visual genealogical narrative that unremittingly alluded to his believed royal descent. Heral-dic symbolism combined with the insertion of armorial shields in the architectural frame physically and spatially articulated Beckford’s forged story and fabricated ancestries.

Similarly, some decades later, when Ferdi-nand de Rothschild deployed the portraits of George IV next to a marble relief portrait of Louis XIV, he was ostensibly engaged in wri-ting a visual genealogy of taste, and was implicitly weaving his own name in its fabric. And when his cousin Alfred ostentatiously incorporated his monogram in the decorative scheme of his country house, he was inclu-ding more than a dynastic symbol: he was recycling the artistic legacy of previous epochs and inscribing himself within an exal-ted lineage of royal patronage. Here we see how the creation of the lived- in space is one of interlocking and conflicting memories between the real and the imagined, the actual and the desired.

The construct of the interior as mode of remembrance and memorialising instrument engaged in the simultaneous construction of historical and biographical narratives becomes particularly salient when the latter was transmuted into text. This textualisation, often in the form of catalogues, could be sys-tematic or fragmentary,tematic or fragmentary,undertaken in the owner’s lifetime or posthu-mously. Once can argue that these textual strategies did not only serve to spatiallycircumscribe objects, they could also effecti-vely blur and even obliterate the materiality of the architectural frame, faisant disparaître les fondations architecturales du lieu dans la somme de la collection.”They emphasised the historical displacement inherent in the construction of some interiors, and our understandingunderstanding of them. But more importantly, once frozen on paper, interiors and their mul-tifarious components became integral parts of wider historiographical narratives.

These texts ensnared the myriad of objects that inhabit the interior within occasionally rigid and absolute taxonomies, yet also per-manently inscribed its creators in dynamic and ever expanding networks of exchanges and consumption. For instance, Horace Walpole’s publication of the description of Strawberry Hill, which offered a description ofStrawberry Hill, which offered a description ofthe villa and inventory of the collections, parti-cipated in his selffashioningas a man of taste. However, it simultaneously provided the very images Walpole wished his contemporaries and future viewers to remember. The publica-tion can be envisaged as Wapole’s attemp-ting to retain control over the memorialisation of the house and its interiors, an endeavour which so far has largely proved successful.

Equally, the interior can act as a metaphor and text for what has perished, but also what is about to vanish. It becomes a chamber where history is re-invented and materialised, and a site where the living can re-enact the past. Discussing his collection, Henry Clay

Frick famously noted “I want this to be my monument. The last concept this paper wants to address is that of the interior as mauso-leum, and its posthumous function as bearer of memory.

As Carol Duncan established, individuals who bequeathed their collections often came to regard them as surrogate selves, and theirassembly and preservation was not simply a matter of social ambition but a search for some lasting value to which they could attachtheirtheir names. Such collections became monu-ments to the taste and cultural practices of their owners. When Richard Wallace left his collection to the British state in 1897, he ensured that, in the absence of legitimate his name would nevertheless survive and suc-ceeded in institutionalising his own name. Indefinitely frozen within the confines of his interiors, the bequest was (and still is) a triumphant act of enclosure with the owner mediating between the objects and the viewers and determining the way it was seen and by whom it was seen. The bequest can thus be seen as an act of selfperpetuation andand the Wallace Collection held to be an immutable and permanent shrine to his name. The sites discussed above were not just aestheticized spaces of commodity dis-play, and the material (re)constructions they contained were envisaged as memorialising rituals and acts of engagement with the past. The externalisation of the social self via objects and their domestic deployment simul-taneously constructed personal biographies, invoked wider historical narratives and frag-mentarily materialised the evanescent beauty of idealised histories.

ReferencesAppadurai, Arjun. 1986. The Social Lives of Things: Commodities in Cultural Perspec-tives. New York: Cambridge University Press. Bermingham, Ann and John Brewer. 1995. The Consumption of Culture, 1600-1800. London, New York: Routledge.Bonnaffé, Edmond. 1873. Les Collection-neurs de l’Ancienne France.

Bourdieu, Pierre. 1984. Distinction. A Social Critique of the Judgment of Taste.

New York, London:Routledge.de Goncourt, Edmond. 2003. La Maison d’un Artiste. Dijon: L’Echelle de Jacob. Duncan, Carol. 1995. Civilizing Rituals: Inside Public Art Museums. London:Routledge.

Elias,Elias, Norbert. 1983. The Court Society. Oxford: Oxford University Press. Elsner, John and Roger Cardinal. 1994. Cultures of Collecting. London: Reaktion Books.Harvey,Harvey, George. 1928. Henry Clay Frick, the Man. New York: Charles Scribner’s Sons. Hein, Jørgen. 2002. Learning versus Status. Kunstkammer or Schatzkammer? Journal of the History of Collections 14, no. 2.Jackson-Stops,Jackson-Stops, Gervase. 1985. The Trea-sure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting. New Haven, London: Yale University Press.Klein, Lawrence E. 2002. Politeness and the Interpretation of the British Eighteenth Cen-tury. The Historical Journal 45, no. 4.Lasic, Barbara. 2009. Splendid Patriotism: Richard Wallace and the Construction of the Wallace Collection. Journal of the History of Collections 21, no. 2. Maleuvre, Didier. 1995. Philosopher dans le boudoir: l’intérieur dans la prose du dix-neuvième siècle, The French Review 68, no. 3. Veblen, Thorstein. 1960. TheThe Theory of the Leisure Class: an Econo-mic Study of Institutions. New York: Random House.

Atlas

‘00 / Memorialised / Villa Coilliot

Maison Coilliot looks a little different to the average house in Lille. That is because it was designed by famous Art-Nouveau designer Hector Guimard in 1900, best known for the elaborate metro station entrances in Paris. This type of design does look a bit overblown on a house but it’s a fas-cinating sight nonetheless. Maison Coilliot, a private residence, is on rue Fleurus, near the church of St. Michel.

‘01/ Memorialised / Victor Horta museum

This is not a museum in the traditional sense: a building where the objects exposed draw all the attention. Here it is the reverse : the building itself is the museum. The Horta Museum was actually the house that Victor Horta built for himself in the begining 1900. It's a true example of the archi-tectural style that made Horta into one of the most acclaimed architects in Belgium.

The Art Nouveau style was popular in Europe, and especially in Brussels, between 1893 and 1918. The characterizations are: the use of industrial materials like steel and iron in the visible parts of houses, new decorations inspired by nature (e.g. the famous whiplash motive, which occurs very often in the Art Nouveau style and especially in the work of Horta), decorative mosaics or sgraffito on the façades of houses, etc... Most of these principles can be seen applied in the Horta Museum itself. This house also shows one of the great innovations of Horta: the rooms are built around a central hall. From the beautiful glass ceiling light falls into the house and therebythereby creating a much more natural illumination of the building than was the case in the traditio-nal late 19th century houses in Brussels and Belgium.

‘02/ Memorialised / The Willow tea rooms

Designed by Charles Rennie Mackintosh for Miss Cranston, the Willow Tea Rooms occupy a narrow infill slot on Sauchiehall Street (Scots word, which means alley of willows). The four story building facade sits carefully in its urban context. Its top cornice generally aligns with the four story buildings on each side. The pedestrian and most public levels are distinguished from the more pri-vate upper stories with an intermediate cornice, and large central windows of these first two floors contrast with smaller windows in the wall of the upper stories. In contrast, however, to the neigh-boring masonry facades, dark and heavily detailed, the Tea Rooms are stuccoed white, and the small paned windows, iron standards and window braces, and ornamental tile inserts give it an elegance and lightness appropriate for its purpose.

‘03/ Memorialised / Hill House

Hill House is the largest and finest Charles Rennie Mackintosh's domestic buildings, . . . occupies a hillside side that looks out over the Clyde estuary, and is surrounded by grounds meticulously landscaped by Mackintosh, who went to the extent of instructing that the trees be clipped accor-ding to his manner of drawing them.

"Built from local sandstone and rough-cast rendered, the house bears the image of Scottish baro-nial traditions. For the interior, Mackintosh designed fireplaces, furnishings and fittings. His atten-tions extended from the design of built-in wardrobes for the white bedroom to the detailing in a superb set of pewter fire tongs and poker. Walls in the house were generally white, some with deli-cate stencil designs in pale greens, pinks, and silver.

‘04 / Memorialised / Casa Batllo

Casa Batlló is a building restored by Antoni Gaudí and Josep Maria Jujol, built in the year 1877 and remodelled in 1904; located at 43, Passeig de Gràcia (passeig is Catalan for promenade or avenue), part of the Illa de la Discòrdia (the "Block of Discord") in the Eixample district of Barce-lona, Spain. Gaudí's assistants Domènec Sugrañes i Gras , Josep Canaleta y Joan Rubió also contributed to the renovation project.

The local name for the building is Casa dels ossos (House of Bones), and indeed it does have a visceral, skeletal organic quality. It was originally designed for a middle-class family and situated in a prosperous district of Barcelona

‘05 / Memorialised / Palais Stoclet

The Stoclet Palace (French: Palais Stoclet, Dutch: Stocletpaleis) is a private mansion built by architect Josef Hoffmann between 1905 and 1911 in Brussels (Belgium) for banker and art lover Adolphe Stoclet. Considered as Hoffman's masterpiece, the Stoclet's house is one of the most refined and luxurious private houses of the twentieth century.

‘06/ Memorialised / Villa Fallet

The first house by the future architect Le Corbusier worked on (Art Nouveau plays a big part in the style of the house). He was 20 years old and still a student at the Art School in La Chaux-de-Fonds.

‘07 / Memorialised / Robbie House

Frederick Robie is a bicycle manufacturer and father of two small children. He wanted his house to be safe from unwanted visitors, and Franck Lloyd Wright’s design allowed for both safety and interaction with the outside neighborhood. The house’s 174 art-glass windows are one example of how Wright separated the Robies from passersby: one cannot see through the windows from the outside, but those on the inside have a fine view of the house’s surroundings.

InIn several parts of the tour, our guide explained how the house actually connected the family with nature even while protecting them from people outside. That’s particularly clear in one of the “pri-vate” sections of the house, the upstairs bedrooms, where the windows open out onto the planters on the balcony and the trees beyond them. I’d be inclined to think of the master bedroom as a tree house if it weren’t a piece of one the most architecturally influential houses

‘08 / Memorialised / Josef Hoffmann Fledermaus Collection

Specially designed in Vienna in 1908 for the Fledermaus cabaret in Vienna, this suite was later produced by the Kohn bentwood furniture company. The runners and the wooden spheres on the joints are typical Hoffmann style elements.

‘09 / Memorialised / Guimard Hostel

At first view one is struck by the architect's care in designing and positioning his windows and bal-conies. Defying rhyme and reason, they are each of a different cut, each placed where one would least expect it:...the window on the third story, a quarter of which is situated on the precise corner of the building and which appears to be haughtily indifferent to the classically arranged bay on the story below. Of particular note in this regard is the long fourth-story balcony surmounted by two lanterns of the type frequently used by Guimard.

‘10 / Memorialised / Steiner house

The Steiner house was designed by Adolf Loos in 1910, for the painter Lilly Steiner and her hus-band Hugo. It is located in a Vienna suburb where the planning regulations were strong enough to have a direct impact on the final design.

‘11 / Memorialised / Casa Milà

Casa Milà, better known as La Pedrera (Catalan for 'The Quarry'), is a building designed by the Catalan architect Antoni Gaudí and built during the years 1905–1910, being considered officially completed in 1911. It is located at 92, Passeig de Gràcia (passeig is Catalan for promenade) in the Eixemple district of Barcelona, Catalonia, Spain.

‘12 / Memorialised / Villa Jeanneret-Perret

The Villa Jeanneret-Perret (also known as Maison blanche) is the first independent project by Swiss architect Le Corbusier. Built in 1912 in La Chaux-de-Fonds, Charles-Edouard Jeanneret's hometown, it was designed for his parents. Open to the public since 2005, the house is under the patronage of the Swiss National Commission for UNESCO and has been proposed by the Swiss Government for inscription on the World Heritage List.

‘13 / Memorialised / man with guitar

Braque painted Man with a Guitar in a mode that came to be called Analytic Cubism. In works created in this style, he and Pablo Picasso experimented with different types of representation to challenge the orthodoxy of illusionistic space in painting. Here Braque paired an accessible, life-like rendering of a nail and rope, at left, with a nearly indecipherable rendering of a human figure playing a guitar.

‘14 / Memorialised / The mud bath

The Vorticism group began with the Rebel Art Centre which Wyndham Lewis and others esta-blished after disagreeing with Omega Workshops founder Roger Fry, and has roots in the Bloomsbury Group, Cubism, and Futurism. Lewis himself saw Vorticism as an independent alter-native to Cubism, Futurism and Expressionism.

The Vorticists published two issues of the literary magazine BLAST, in June 1914 and July 1915 which Lewis edited. It contained work by Ezra Pound and T. S. Eliot as well as by the Vorticists themselves. Its typographical adventurousness was cited by El Lissitzky as one of the major fore-runners of the revolution in graphic design in the 1920s and 1930s.

‘15 / Memorialised / Océan 5

Piotr Mondrian’s abstracted pier was painted in 1915, the vertical lines at the base of the oval stretches into an ocean of short lines and crosses that suggest flickering light on the surface of water.

‘16 / Memorialised / le journal

Juan Gris was a quietist, whose life was ostensibly marked by few major incidents. Though not the inventor of Cubism, he was one of its most able practitioners and evolved a very personal variety of it, combining elements which he had learned from Braque and Picasso with others which were his own personal invention.

‘17 / Memorialised / Red blue chair

The Red Blue Chair was a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions. The original chair was painted in the familiar De Stijl palette of primary colours - that is, black, grey, and white. However, it was later changed to resemble the paintings of Piet Mondrian after Rietveld came into contact with this artist's work in 1918. Rietveld joined the De Stijl movement in 1919.

‘18 / Memorialised / You bore me

The art collector and educator Katherine Dreier commissioned Tu m' to be hung over a bookcase in her library—hence the unusual shape of the work. Executed in 1918, it is Marcel Duchamp's last painting on canvas and revisits highlights of his career. Ranging across the canvas from left to right are the cast shadows of a bicycle wheel, a corkscrew, and a hat rack.

‘19 / Memorialised / LHOOQ

As was the case with a number of his readymades, Duchamp made multiple versions of L.H.O.O.Q. of differing sizes and in different media throughout his career, one of which, an unmodified black and white reproduction of the Mona Lisa mounted on card, is called L.H.O.O.Q. Shaved.

Primary responses to L.H.O.O.Q. interpreted its meaning as being an attack on the iconic Mona Primary responses to L.H.O.O.Q. interpreted its meaning as being an attack on the iconic Mona Lisa and traditional art, thus promoting the Dadaist ideals. Perhaps Duchamp decided to use his ready-mades to not only critique established art conventions, but to also force the audience to put aside what they had thought before and look at something with a completely different pers-pective. By making the gender of the Mona Lisa ambiguous, Duchamp claimed to present his audience with a new perspective at a classic work of art.

‘20 / Memorialised / Tatlin's Tower

Tatlin's Constructivist tower was to be built from industrial materials: iron, glass and steel. In mate-rials, shape, and function, it was envisaged as a towering symbol of modernity. It would have dwarfed the Eiffel Tower in Paris. The tower's main form was a twin helix which spiraled up to 400 m in height, which visitors would be transported around with the aid of various mechanical devices.

The main framework would contain four large suspended geometric structures. These structures would rotate at different rates of speed. At the base of the structure was a cube which was desig-ned as a venue for lectures, conferences and legislative meetings, and this would complete a rotation in the span of one year. Above the cube would be a smaller pyramid housing executive activities and completing a rotation once a month. Further up would be a cylinder, which was to house an information centre, issuing news bulletins and manifestos via telegraph, radio and loudspeaker, and would complete a rotation once a day. At the top, there would be a hemisphere for radio equipment. for radio equipment.

‘21 / Memorialised / Hollyhock House

Built between 1919 and 1921 for oil heiress Aline Barnsdall, Hollyhock House is Frank Lloyd Wright’s first project in Los Angeles. Its namesake is abstracted and geometricized in much of the house’s design, including exterior walls and interior furniture.

Hollyhock House was the centerpiece of a mostly unrealized Wright master plan for a theater community set on a thirty-six acre site, "Olive Hill." Wright left much of the supervision of construc-tion of Hollyhock House to his son, landscape architect Lloyd Wright, and to architect Rudolf Schindler, as Wright himself was working on the Imperial Hotel in Tokyo (since destroyed).

In 1927, Aline Barnsdall donated the Hollyhock House and eleven surrounding acres to the City of Los Angeles for use as a public art park. It has been leased over the years to various arts orga-nizations, necessitating a cycle of alteration and rehabilitation that is culminating in the large-scale rehabilitation which started in the fall of 1998. (The rehabilitation is being partly funded by the lease of the property to the Los Angeles Mass Transit Authority for subway construction adjacent to the park.) Today Hollyhock House is a part of Barnsdall Art Park, with a local art gallery, theater, and children’s activities.

The house is a breathtaking example of Wright’s extraordinary ability to relate the house to its site, offering a linked continuum of private and public spaces--including a gorgeous roofscape that overlooks the city. This and a remarkably friendly and knowledgeable staff make the Hollyhock House an important place to visit.

‘22 / Memorialised / Amédée Ozenfant house

The house and studio in Paris for Le Corbusier's friend the painter Ozenfant is an early example of 'minimal' architecture, a prototype of the Domino house and a manifestation of some of the prin-ciples which Le Corbusier was to set out in his famous 'five points.' It possessed a geometrical cla-rity inside and out which has since been lost with the elimination of the north-light roof and its replacement by a flat one.

‘23 / Memorialised / Villa Noailles

The Villa Noailles is an early modernist house, built by architect Robert Mallet-Stevens for art patrons Arthur Anne Marie Charles Vicomte de Noailles and his wife, Marie-Laure Bischoffsheim, between 1923 and 1925. It is located in the hills above Hyères, in the Var, southeastern France.

‘24 / Memorialised / Villa La Roche

Villa La Roche was built as a home for Raoul La Roche that among other things would serve as a private gallery to display La Roche's extensive art collection. Built in a private Paris courtyard, the house had major constraints imposed by the site and its zoning restrictions, including a north orientation, existing trees and height and boundary limitations

‘25 / Memorialised / Vassily chair

The Wassily Chair, also known as the Model B3 chair, was designed by Marcel Breuer in 1925-1926 while he was the head of the cabinet-making workshop at the Bauhaus, in Dessau, Ger-many. Despite popular belief, the chair was not designed for the non-objective painter Wassily Kandinsky, who was concurrently on the Bauhaus faculty. However, Kandinsky had admired the completed design, and Breuer fabricated a duplicate for Kandinsky's personal quarters. The chair became known as "Wassily" decades later, when it was re-released by an Italian manufacturer named Gavina who had learned of the anecdotal Kandinsky connection in the course of its research on the chair's origins..

‘26 / Memorialised / Rudolph Steiner house

The refurbishment of the Rudolf Steiner House, which was built in 1924-26 by the Scottish archi-tect Montague Wheeler, represents the only example in London, and possibly the UK, of what has been called ‘German Expressionism’, and is Grade II listed.

Part of its significance is the structural engineering of a wonderful organic spiral staircase of in situ reinforced concrete and early haunched reinforced concrete portals which span over the main lec-ture theatre.

Generally, the structure of the main building is a cased steel frame with a brick or masonry facing skin and beam-and-claypot floors.

The architect and structural engineers employed modern techniques of the day to express the phi-losophical ideas of the Rudolf Steiner movement through organic curves and irregular geometry.

‘27 / Memorialised / D42 chair

This armchair was esigned by Mies van Der Rohe for the Bauhaus in 1927! The wicker-work for the chair was created by Lilly Reich, assistant to Mies Van Der Rohe. One of the better, if not best Icons of Modern Design! This is the authentic and fully authorized edition by Tecta. This chair is one of the classics in the history of furniture. The D 42 armchair fits well in the domestic setting but can also be used in waiting areas or corporate environments. Bauhaus became a dominant force in architecture and the applied arts in the 20th century. The main theory was that all design should be functional as well as aesthetically-pleasing.

‘28 / Memorialised / Villa Müller

The Villa Müller is an architectural structure designed in 1928 by the architect Adolf Loos, born in Brno, Austria-Hungary.The villa is located in Prague, Czech Republic. The house was designed originally for Mr. František Müller and his wife, Milada Müllerová.

‘29 / Memorialised / Barcelona Pavilion

Mies's response to the proposal by von Schnitzler was radical. After rejecting the original site because of aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition's main attractions, the "Spanish Village". The pavilion was going to be barejust the structure, a single sculpture and purpose-designed furniture.

ThisThis lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof.the chrome-clad, cruciform columns. This gives the impression of a hovering roof.

Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the "Spanish Village". The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but alsoalso directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.

‘30 / Memorialised / Villa Tugendhat

Villa Tugendhat is considered a masterpiece, designed by the German architect Ludwig Mies van der Rohe. Built between the years 1928-1930 in Brno, in today's Czech Republic, for Fritz Tugendhat and his wife Greta, the villa soon became an icon of modern architecture.ItIt is a paradigmatic example of functionalism. Mies used the revolutionary iron framework which enabled him to dispense with supporting walls and arrange the interior in order to achieve a fee-ling of space and light. He also designed all furniture (two types of armchair designed for the buil-ding, the Tugendhat chair and the Brno chair, are still in production). There were no paintings or decorative items in the villa but the interior was by no means austere due to the use of naturally patterned materials such as the captivating onyx wall and rare tropical woods. The onyx wall is partially translucent and changes appearance when the evening sun is low. The architect also managed to make the magificient view from the villa an integral part of the interior.The cost of building the villa was very high due to the unusual construction method, the luxurious materials, very modern technology of heating, ventilation, etc. It is also quite large for a family house, a fact which may escape casual visitors since the elegant simplicity of the rooms used by the family is compensated by a very large space occupied by various utility rooms.

‘31 / Memorialised / Villa Savoye

Villa Savoye is a modernist villa in Poissy, in the outskirts of Paris, France. It was designed by Swiss architects Le Corbusier and Pierre Jeanneret, and built between 1928 and 1931. A mani-festo of Le Corbusier's "five points" of new architecture, the villa is representative of the bases of modern architecture, and is one of the most easily recognizable and renowned examples of the International style.

Originally built as a country retreat on behest of the Savoye family, the house fell into disuse after 1940, and entered a state of disrepair during World War II. It passed on to be property of the French state in 1958, and after surviving several plans of demolition, it was designated as an offi-cial French historical monument in 1965 (a rare occurrence, as Le Corbusier was still living at the time). It was thoroughly renovated from 1985 to 1997, and under the care of the Centre des monu-ments nationaux, the refurbished house is now open to visitors year-round.

‘32 / Memorialised / Cavrois house

Villa Cavrois is a testimony to a lifestyle as it was conceived in the late 1920s by Rob Mallet Ste-vens. Luminosity, hygiene and comfort are the keywords that underlie such buildings. Villa Cavrois illustrates this concept with simplicity and elegance. The large modern mansion was organized to offer the best possible lifestyle to the nine members of the family and to facilitate the daily work of the household staff. Its style was a total break from that of other neighbouring houses of the same era in the suburbs of Croix. Clear guidelines governed the design of the building, which was commissioned in 1929: "air, light, work, sports, hygiene, comfort and efficiency"

‘33 / Memorialised / Lemke House

The residential house with an L-shaped design assumes a special position in Mies van der Rohe’s oeuvre. This is the only building in the style of the courtyard house that Mies was able to realize in the 1930s. The design work was intensely influenced by the financial and formal specifications by homeowner Karl Lemke in his intention of using the house both as a private retreat and for representation purposes. Although the building was built in the massive-construction style and contrary to the open-room structure that was otherwise typical of Mies, the architect implemented his concept of “flowing space.” For the Lemke House, he applied this to the relationship between the interior and exterior space: The terrace, which is located on the garden side and enclosed by the interior and exterior space: The terrace, which is located on the garden side and enclosed by the house, can be accessed from both wings through the opened bank of windows from the study – which simultaneously serves as the hall – or the living room or dining room. The ground-level access expands the rooms into the landscape.

‘34 / Memorialised / Zigzag chair

The Zig Zag Chair product by Gerrit Thomas Rietveld, 1934, is a Lavish solid wooden structure in natural or walnut colour ash wood.

35 / Memorialised / Villa le Sextant

The Sextant houqz was designed by Le Corbusier in 1935 in La Palmyre (France). Intended to go home holiday in a place in the mountains near the sea. This allows an organization open to direct contact with the territory.

The distribution through the public areas and galleries open overlapping. The house guide to the sea areas to the west, and private rooms to the east. It is an approach, in a thought, the problem of living under certain conditions without resorting to any repetition of stereotyped patterns of others.

‘36 / Memorialised / Riihitie House

Alvar Aalto's house on Riihitie in Helsinki has been re-opened to the public after the completion of technical repairs. The house was restored in order to preserve the feeling of times gone by.

In 1935-36, Alvar Aalto designed his Riihitie house in the Munkkiniemi area of Helsinki and had it constructed. It is the first building by Aalto in Helsinki. The Riihitie house is a small architectural gem whose natural modernism foresees Villa Mairea. The house's interior and exterior form a continuum that is highlighted by natural materials and proximity to plants.

TheThe Aalto couple decorated their house mainly with furniture and lighting fixtures of their own design. Over 60 years of life can be sensed from the touches of different design epochs. During restoration work, Artek renovated some of the old pieces of furniture. Artek also took part in choo-sing upholstery materials as well as complemented the furniture in the bedrooms.

‘37 / Memorialised / Trocadéro

The Palais de Chaillot, was designed bythe architects Azema, Carlu and Boileau. It will be built for the international exhibition of the arts and the techniques of 1937. It is trained by two wings in curve which come down towards the Seine. Between these two wings the esplanade of Human Rights dominates the view of the Eiffel Tower and the Champ de Mars.

SinceSince 2007, the «cité de l’architecture et du patrimoine» is an architecture museum, combining existing and new collections. It contains about 8,000 m² of permanent exhibit space, with a further 1,830 m² for temporary exhibits, and a 1,700 m² architectural library. Its principal permanent exhi-bit is the Musée des Monuments Français (Museum of French Monuments), which contains three galleries:

Galerie des Moulages - casts of French architecture from the 12th to 18th centuries.

Galerie des Peintures Murales et des Vitraux (wall paintings and stained-glass windows), repro-ducing outstanding works from historic monuments.

Galerie Moderne et Contemporaine - French and international architecture from 1850 to the pre-sent.

The museum also houses the Institut Français d'Architecture (French Institute of Architecture), which presents temporary exhibits in addition to maintaining an extensive library and archives; and the École de Chaillot (School of Chaillot), which grants post-graduate degrees in specialized aspects of architecture such as restoration and urban design.

‘38 / Memorialised / Gropius house

Walter Gropius, founder of the German design school known as the Bauhaus, was one of the most influential architects of the twentieth century. He designed the Gropius House as his family home when he came to Massachusetts to teach architecture at Harvard's Graduate School of Design.

ModestModest in scale, the house was revolutionary in impact. It combined the traditio-nal elements of New England architecture—wood, brick, and fieldstone—with innovative materials rarely used in domestic settings at that time, including glass block, acoustical plaster, chrome banisters, and the latest technology in fixtures.

In keeping with Bauhaus philosophy, every aspect of the house and its surroun-ding landscape was planned for maximum efficiency and simplicity of design. The house contains a significant collection of furniture designed by Marcel Breuer and fabricated in the Bauhaus workshops. With the family's possessions still in place, the Gropius House has a sense of immediacy and intimacy.

‘39 / memorialised / Falling water

Fallingwater is the name of a very special house that is built over a waterfall. Franck Lloyd Wright. America’s most famous architect, designed the house for his clients, the Kaufmann familiy. Fallin-gwater was built between 1936 and 1939. It instantly became famous, and today a National Histo-ric Landmark.

‘41 / Memorialised / Villa Mairea

Villa Mairea is a villa, guest-house, and rural retreat designed and built by the Finnish modernist architect Alvar Aalto for Harry and Maire Gullichsen in Noormarkku, Finland.

The Gullichsens were a wealthy couple and members of the Ahlström family. They told Aalto that he should regard it as 'an experimental house'. Aalto seems to have treated the house as an opportunity to bring together all the themes that had been preoccupying him in his work to that point but had not been able to include them in actual buildings.

‘42 / Memorialised / Rodriguez house

The Rodriguez house was built by Rodolf Michal SChindler in 1942.

The unconventional plan (by San Francisco standards) puts the living area at the top of the house to enjoy panoramic views of the city, while the middle floor becomes a flexible arrangement of bedrooms, a writing studio, and gallery arranged around sliding cherry wood walls and a glass treaded staircase. The ground floor holds two garages and a studio accessed from the rear yard by a spiral stair.

‘43 / Memorialised / barwa lounge chair

Barwa lounge chairs were designed in 1943 by e. bartolucci & j. waldheim. "barwa is not a chair, not a bed, but a new and modern method of securing and insuring relaxation." (quote from the barwa promotional brochure). after studying at the institute of design in chicago, bartolucci and waldheim created their own design studio and designed the barwa lounge, named after both the designers.

‘44 / Memorialised / NOGUCHI C.1944

This table was designed by Isamu Noguchi in 1944. This collection object designed in limited serie during the Second World War in the perfect eample of a «memorialised» object.

‘45 / Memorialised / Eames Chair

Chair Shell Experiments, were designed in 1945 by Charles Eames. Molded plywood, metal, and rubber.

‘46 / Memorialised / Kaufman desert House

Richard Neutra’s Kaufman House (1946) in palm spring, California, located at 740 W. Chino Canyon Road, Palm springs.

Richard Neutra designed this house for the kaufman family. The house is considered a prime exemple of modernism, and was made famous by the photograph by Julius Shulman.

‘47 / Memorialised / Night land

Isamu Noguchi's "Night Land" is one of the first pure landscapes in sculpture. Created in 1947, it is one of the best example for «memorialised» object.

‘48 / Memorialised / Casa Barragan

The house is located at General Francisco Ramírez 12 in the Tacubaya suburb of Mexico City. The external façade is in keeping with the low-class neighborhood: it was highly important for Bar-ragán not to change the aspect of a street. The entrance hall is quite small, forming as it were an emotional step before finally encountering the house as Barragán designed it, which in his use of vivid color (as he always did) starts to amaze every visitor with the first corridor, which is a quite vivid pink, with yellow spaces.

One of the most important matters in the house is the light: as Barragán always hated the use of ceiling illumination, the house is lit, if not by natural illumination, then only with small lamps always placed on top of a small table.

‘49 / Memorialised / Jonhson glass house

The Glass House or Johnson house, built in 1949 in New Canaan, Connecticut, was designed by Philip Johnson as his own residence and is a masterpiece in the use of glass. It was an important and influential project for Johnson and his associate Richard Foster, and for modern architecture. The building is an essay in minimal structure, geometry, proportion, and the effects of transpa-rency and reflection. The estate includes other buildings designed by Johnson that span his career.

The house is an example of one of the earliest uses of industrial materials like glass and steel in home design. Johnson lived at the weekend retreat for 58 years, and since 1960 with his longtime companion, David Whitney, an art critic and curator who helped design the landscaping and lar-gely collected the art displayed there

‘50 / Memorialised / Akari light

akari light sculptures by isamu noguchi are considered icons of 1950s modern design. noguchi sketched the first of his most well-known works of this kind -- the mulberry paper and bamboo lamps in 1950.

handmade for a half century by the original manufacturer in gifu, japan, the paper lanterns are a harmonious blend of japanese handcraft, memorialised and modernist form.

‘51 / Memorialised / Farnsworth house

The Farnsworth House is one of the most significant of Mies van der Rohe’s works, equal in importance to such canonical monuments as the Barcelona Pavilion. The Farnsworth House embodies a certain aesthetic culmination in Mies van der Rohe’s experiment with this building type. Second, the house is perhaps the fullest expression of modernist ideals that had begun in Europe, but which were consummated in Plano, Illinois.

‘52 / Memorialised / Kaufman Desert House,

Located in Sector 10, Museum of Evolution of Life in Chandigarh is an awesome museum that gives a fabulous recap of the history beginning from the time of Indus valley civilization till date. Chandigarh Museum was built by Le Corbusier in 1952.

‘53 / Memorialised / Maison Jaoul

Maisons Jaoul is a celebrated pair of houses in the upmarket Paris suburb of Neuilly-sur-Seine, designed by Le Corbusier and built in 1953. The buildings were drawn in 1937 but were only built postwar for André Jaoul and his son Michel. The buildings are one of the most important of his post-war output and features a rugged aesthestic of unpainted cast concrete "beton brut" and rou-ghly detailed brickwork. It was for a time owned by English millionaire Lord Palumbo. It now belongs to two sisters who live there with their families. The Maisons Jaoul have been protected by the French government as historical monuments since 1966, at the request of André Malraux.

54 / Memorialised / Jean Prouvé House

Jean Prouvé is one of the greatest French designers of the 20th century. Working as a craftsman, designer, manufacturer, architect, teacher and engineer, his career spanned over sixty years. With remarkable elegance and economy of means, he designed prefabricated houses, building components and façades, as well as furniture for the home, office and school.

FromFrom his early days, Prouvé was apprenticed as an artist blacksmith, hammering and shaping red-hot wrought iron. He progressed to running a studio and then established his own factory at Maxéville, just outside Nancy, where he worked until 1954. Driven by the constant quest for inno-vation in process and use of materials, his bold, reduced forms were inspired by the sparse aesthetic of aircraft and automobile design. Prouvé believed in the power of design to make a better world. He fought for the French Résistance, ran his factory on socialist principles, and saw design as a moral issue.

1955 / Memorialised / Chapelle de Ronchamp

Notre Dame du Haut was thought of as a more extreme design of Le Corbusier’s late style. The chapel is a simple design with two entrances, a main altar, and three chapels beneath towers. Although the building is small, it is powerful and complex. The chapel is the latest of chapels at the site. The previous chapel was completely destroyed there during World War II. The previous building was a 4th century Christian chapel. But, at the time the new building was being construc-ted, Corbusier wasn’t exactly interested in “Machine Age” architecture. He felt his style was more primitive and sculptural, so he decided to build something more interesting.

1955 / Memorialised / Chapelle de Ronchamp

Notre Dame du Haut was thought of as a more extreme design of Le Corbusier’s late style. The chapel is a simple design with two entrances, a main altar, and three chapels beneath towers. Although the building is small, it is powerful and complex. The chapel is the latest of chapels at the site. The previous chapel was completely destroyed there during World War II. The previous building was a 4th century Christian chapel. But, at the time the new building was being construc-ted, Corbusier wasn’t exactly interested in “Machine Age” architecture. He felt his style was more primitive and sculptural, so he decided to build something more interesting.

1956 / Memorialised / Eglise Saint Joseph

St. Joseph's Church, Le Havre, is a Roman Catholic church in Le Havre, France, built between 1951 and 1956 as part of the reconstruction of the town of Le Havre, which was almost entirely destroyed during World War II. It acts as a memorial to the five thousand civilians who died in the conflict.

TheThe church was designed by the chief architect for the reconstruction of Le Havre, Auguste Perret, teacher and mentor to the Swiss architect Le Corbusier. The sombre interior is in the Neo-Gothic style. The tower is 107 metres tall and acts as a beacon visible from out at sea, especially at night when illuminated.

‘57 / Memorialised / Child's Chair Kristian Vedel

Here for a very nice and rare kids chair, designed by Kristian Solmer Vedel for Orskow & Ko, Den-mark 1957. This is for the regular version, it has a nice seat and normal table piece. A lot of dif-ferent varieties were made of these chairs. This was made of high quality beech plywood scale and has red colored seat and top. A very nice looking kids chair and a good Danish Modern collec-tible! Would look very decorative in any home, even if you don’t have kids.

1958 / Memorialised / Norman Cherner chair

The 1958 molded plywood armchair by Norman Cherner a midcentury icon found in design collec-tions worldwide is now available to a new generation of furniture collectors. Reissued in exacting detail from the original drawings and molds, the armchair combines the best of both molded plywood and solid bent wood construction. Like the original, made entirely in the U.S

1959 / Memorialised / Maison Louis Carré

Maison Louis Carré near Paris, designed by the Finnish architect Alvar Aalto at the end of the 1950s, is being officially opened to the public today. Aalto designed the house for the French art dealer and collector Louis Carré and his wife Olga, and it was completed in 1959. Aalto’s spouse Elissa Aalto also contributed extensively to the design. This masterpiece of modern architecture is Aalto’s only remaining building in France, and one of his most remarkable private villas. ”This is an integrated work of art, combining buildings, garden, furniture, and interior design, all imple-mented entirely according to Aalto’s design”, enthused architect Hanni Sippo from the Alvar Aalto MuseumMuseum Architectural Heritage on Tuesday prior to the official opening to Finnish newspaper Hel-singin Sanomat.

1960 / Memorialised / Sainte Marie de la Tourette

Under the instigation of Marie-Alain Couturier the Dominicans of Lyon charged Le Corbusier with the task of constructing the monastery in a small valley at Éveux, near Lyon.

TheThe buildings contain a hundred sleeping rooms for teachers and students, study halls, a hall for work and one for recreation, a library and a refectory. There is also a church, where the monks practice, and the circulation, which connects all the parts (the achievement of the traditional clois-ter form is rendered impossible here by the slope of terrain). On two levels, the loggias crowning the building (one for each acoustically isolated monk's cell) form brises-soleil. The study halls, work and recreation halls, as well as the library occupy the upper-level. Below are the refectory and the cloister in the form of a cross leading to the church. And then come the piles carrying the fourfour convent buildings rising from the slope of the terrain left in its original condition, without terra-cing.

The structural frame is of rough reinforced concrete. The panes of glass located on the three exte-rior faces, the so-called "pans de verre ondulatoire" ("undulating glass surfaces"), were designed by Xenakis, and are similar to those of the Secretariat at Chandigarh on which Xenakis also worked. On the other hand, in the garden-court of the cloister, the fenestration is composed of large concrete elements reaching from floor to ceiling, perforated with glazed voids and separated from one another by "ventilators": vertical slits covered by metal mosquito netting and furnished with a pivoting shutter. The corridors leading to the dwelling cells are lit by a horizontal opening located under the ceiling.located under the ceiling.

Built as a Chapel, residence and place of learning for Dominican friars, the monastery groups around a central courtyard a U-shaped mass, and the court is closed off by the chapel at the end.

At La Tourette many aspects of Corbusier's developed architectural vocabulary are visible – the vertical brise-soleils used with effect in India, light-cannons piercing solid masonry walls, and win-dow-openings separated by Modulor-controlled vertical divisions. In contrast with Ronchamp, the building does not crown and complement the site, but instead dominates the landscape composi-tion.

If there is harmony, it is in the finishes that in their roughness and near-brutality betray some empathy with the life of a monk. La Tourette makes no claim to the effete bourgeois lifestyle embodied at the Villa Savoye; its antecedents, if anything, are the Greek monasteries of Mount Athos and an almost mythological history.

‘61 / Memorialised / Carpenter Center

The Carpenter Center for the Visual Arts at Harvard University, in Cambridge, Massachusetts is the only building actually built by Le Corbusier in the United States, and one of only two in the Americas (the other is the Curutchet House in La Plata, Argentina). Le Corbusier designed it with the collaboration of Chilean architect Guillermo Jullian de la Fuente.

1962 / Memorialised / Vana Venturi house

When architect Robert Venturi built this home for his mother, he shocked the world. Postmodern in style, the Vanna Venturi house flew in the face of Modernism and changed the way we think about architecture.

TheThe design of Vanna Venturi House appears deceptively simple. A light wood frame is divided by a rising chimney. The house has a sense of symmetry, yet the symmetry is often distorted. For example, the façade is balanced with five window squares on each side. The way the windows are arranged, however, is not symmetrical. Consequently, the viewer is momentarily startled and disoriented. Inside the house, the staircase and chimney compete for the main center space. Both unexpectedly divide to fit around each other.

‘63 / Memorialised / Église Saint-Julien de Caen

The old church destroyed in 1944, was replaced by this modern construction in 1963 by Henry Bernard. The sanctuary wall with an elliptical plan, forms a cames where the days make up the many sides of an immense sombre stained glass window.

‘64 / Memorialised / Los Angeles County Museum of Art

The Los Angeles County Museum of Art (LACMA) is an art museum in Los Angeles built in 1964 by William Pereira, California. It is located on Wilshire Boulevard along Museum Row in the Miracle Mile vicinity of Los Angeles, adjacent to the George C. Page Museum and La Brea Tar Pits.

LACMALACMA is the largest encyclopedic museum west of Chicago and attracts nearly one million visi-tors annually. Its holdings include more than 100,000 works spanning the history of art from ancient times to the present. In addition to art exhibits, the museum features film and concert series throughout the year.

1967 / Memorialised / Norman Fisher house

Norman Fisher House is a house designed by Louis I. Kahn in 1967. The house located at Phila-delphia, Pennsylvania. It using stone masonry as base and wood framing as the walls. But it has weird design, two box connected each other on the wrong place, make it not symmetrical. Popular Design:norman fisher housefisher house louis kahnfisher house kahncasa norman fishernorman fisher house louis kahnFisher housenorman.

1968 / Memorialised / Neue Nationalgalerie

Built in 1968 by Ludvig Mies Van der Rohe, the Neue Nationalgalerie was the first building com-pleted as a part of Berlin’s Kulturforum, a cluster of buildings dedicated to culture and the fine arts. The architecture of the museum is, according to its admirers, a powerful and expressive object in itself. Nearly all of the museum's collections are located within in a stone podium, solid to protect the art from damaging daylight, partially in the ground of the sloping site, with windows only on one side facing a walled sculpture garden.

A minimalist steel and glass pavilion, located on the paved roof plaza above the podium, serves as the entrance lobby and the special exhibit gallery. The pavilion, while a small part of the museum, is the primary architectural expression. It's structure consists of a large steel roof deck supported by eight exterior columns, creating an effect of a shelter with a single floating plane. Large glass sheets that define the interior space are set far back from the roof edges, framed by delicate steel mullions.

TheThe glass walls and the elimination of all interior columns emphasizes the idea of free space as a place for artists to present their work, unencumbered by the necessity of a shelter to protect visi-tors and contents from the elements. Natural light transmitted through these walls reflects off the dark, highly polished floor, emphasizing the extension of space beyond the boundaries of the inte-rior, a symbolic removal of solid walls as barriers. The podium roof plaza is itself another open air gallery for public sculpture, extending the exhibit space of the pavilion to the outside.

‘69 / Memorialised / Family’s brion cemetery

The Brion Cemetery is in San Vito d'Altivole near Treviso, Italy. Carlo Scarpa (1909-1978) desig-ned the addition to a previous cemetery in 1969. The cemetery is a monumental tomb designed for Brion family, founder of the Brionvega group. Scarpa himself is buried in this cemetery in a well hidden spot, within the interstitial space created by the walls of the old and new cemeteries. The site also includes a small chapel with a special entrance for caskets.

1970 / Memorialised / Cathedral of Brasília

The Cathedral of Brasilia, officially the Metropolitan Cathedral of Our Lady Aparecida (Catedral Metropolitana Nossa Senhora Aparecida), dedicated to the Blessed Virgin Mary under her title of Our Lady of Aparecida, proclaimed by the Church as Queen and Patroness of Brazil, is an expres-sion of the architect Oscar Niemeyer.

This concrete-framed hyperboloid structure, seems with its glass roof to be reaching up, open, to heaven. On May 31, 1970, the Cathedral’s structure was finished, and only the 70 m diameter of the circular area were visible. Niemeyer's project of Cathedral of Brasília is based in the hyperbo-loid of revolution which sections are asymmetric. The hyperboloid structure itself is a result of 16 identical assembled concrete columns. These columns, having hyperbolic section and weighing 90 t, represent two hands moving upwards to heaven. The Cathedral was dedicated on May 31, 1970. The architecture was arguably inspired by the design of Liverpool Metropolitan Cathedral.

1971 / Memorialised / Franck Gerhy rocking chair

A unique and distinctive Frank Gehry rocking chair was designed in 1971. This has been owned by one person since it was made. The piece is made of thick corrugated material and the sides are masonite. I was told this piece is one of a limited edition of 9.

1972 / Memorialised / Kimbell Art Museum

The Kimbell Art Museum in Fort Worth, Texas, hosts a small but excellent art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it.The building was designed by renowned architect Louis I. Kahn and is widely recognized as one of the most significant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings.

‘73 / Memorialised / Sydney Opera House

The Sydney Opera House is a multi-venue performing arts centre in the Australian city of Sydney. It was conceived and largely built by Danish architect Jørn Utzon, who received the Pritzker Prize, architecture's highest honour, in 2003.

TheThe Sydney Opera House is a modern expressionist design, with a series of large precast concrete "shells",each composed of sections of a sphere of 75.2 metre (246 ft 8½ in) radius, for-ming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares (4.5 acres) of land and is 183 metres (605 ft) long and 120 metres (388 ft) wide at its widest point. It is supported on 588 concrete piers sunk as much as 25 metres below sea level.

‘74 / Memorialised / Jatiyo Sangshad Bhaban

Jatiyo Sangsad Bhaban is the National Assembly Building of Bangladesh, located in the capital Dhaka. It was created by architect Louis I. Kahn and is one of the largest legislative complexes in the world. It houses all parliamentary activities of Bangladesh.

Kahn's key design philosophy optimizes the use of space while representing Bangladeshi heri-tage and culture. External lines are deeply recessed by porticoes with huge openings of regular geometric shapes on their exterior, shaping the building's overall visual impact.

‘75 / Memorialised / Mick Jagger

Andy Warhol - Mick Jagger silk screen prints, signed in pen by Andy Warhol between 1975 and 1976, these prints sold as limited editions to private collectors.

‘76 / Memorialised / Azuma house

One of the earliest works of the self-taught architect Tadao Ando is the Azuma House (1976) in Sumiyoshi, where the house is split into a spaces devoted to daily life (composed of an austere geometry) by the insertion of an abstract space for the games of wind and light. His goal, he says, was to introduce a question on the inertia that has invaded human dwellings.

The reinforced concrete used in this house is presented as the ornamentation for the facade.

1977 / Memorialised / Centre Georges Pompidou

The Centre Georges Pompidou was designed by the Italian architect Renzo Piano, the British architect couple Richard Rogers and Su Rogers, Gianfranco Franchini, the British structural engi-neer Edmund Happold (who would later found Buro Happold), and Irish structural engineer Peter Rice. The project was awarded to this team in an architectural design competition, whose results were announced in 1971. Reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompi-dou Centre, with its exposed skeleton of brightly colored tubes for mechanical systems. The Pritz-ker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.

Initially, all of the functional structural elements of the building were color-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety are red. However, recent visits suggests that this color coding has been partially removed, and many of the elements are simply painted white.

‘78 / Memorialised / Gerhy house

Frank Gehry's own house in Los Angeles is rather a collision of parts, built to stay but with a deli-berately unfinished, ordinary builderlike sensibility of parts. An existing and very pedestrian two-story gambrel-roofed clapboard residence had much of its interior removed and walls stripped back to their original two-by- four stud frame, beams, and rafters. It was then expanded by wrap-ping the old house with a metal slipcover creating a new set of spaces around its perimeter.

The antirefinement type enclosure is built of the most mundane materials, corrugated aluminum metal siding, plywood, glass and chain-link fencing, and deliberately has randomly slanted lines and angled protrusions

‘79 / Memorialised / New Harmony's Atheneum

New Harmony's Atheneum is the visitor center for New Harmony, Indiana. It is named for the Greek Athenaion, which was a temple dedicated to Athena in ancient Greece.[1] Funded by the Indianapolis Lilly Endowment in 1976, with the help of the Krannert Charitable Trust, it was opened on October 10, 1979.

TheThe architect was Richard Meier, whose other works include the Getty Center in Los Angeles, California. When it opened in 1979 it won the Progressive Architecture Award, and in 1982 won the American Institute of Architects (AIA) Honor Award. In 2008 it won the AIA's prestigious Twen-ty-five Year Award, which is given to no more than one building per year. Architect Peter Eisen-mann nominated the Atheneum for this award because it was "a wonderfully pure example of the recurring themes among (Meier's) substantial oeuvre; it is a classic 'Meier' design."

‘80 / Memorialised / Tower 42

The National Westminster Tower's status as the first skyscraper in the City was a coup for NatWest, but was extremely controversial at the time, as it was a major departure from the pre-vious restrictions on tall buildings in London.

The original concept dates back to the early 1960s, predating the formation of the National West-minster Bank. The site was then the headquarters of the National Provincial Bank, with offices in Old Broad Street backing onto its flagship branch at 15 Bishopsgate. Early designs envisaged a tower of 137 m (450 ft); this developed into a design with a 197 m (647 ft) tower as its centrepiece, proposed in 1964 by architect Colonel Richard Seifert.

The plan attracted opposition, particularly because of the proposed demolition of the 19th century bank building at 15 Bishopsgate, which dated from 1865 and was designed by architect John Gibson. The final design preserved the Gibson banking hall and the tower's height was reduced to 183 m (600 ft).

‘81 / Memorialised / National Palace of Culture

The National Palace of Culture, located in Sofia, the capital of Bulgaria, is the largest multifunctio-nal congress, conference, convention and exhibition centre in Southeastern Europe. It was opened in 1981.

In July 2005, the National Palace of Culture was proclaimed the best congress centre in the world for the year by the International Organization of Congress Centres.

The congress centre has a wide variety of technical equipment at its disposal in order to host dif-ferent types of events, such as concerts, conferences, exhibitions and shows. It has an area of 123,000 m² on eight floors and three underground levels. The National Palace of Culture has 13 halls and 15,000 m² of exhibition area, a trade centre and a car park. Sofia Film Fest, an annual film festival held in the capital of Bulgaria, Sofia takes place in NDK.

1982 / Memorialised / Chaise Costes

This famous chair designed by Philippe Starck was originally designed in 1982 for Café Costes in Paris. It was designed with three legs so that waiters at the café would not have as many legs to trip over! Black lacquered steel frame with a curved beech lacquered back. Leather covered poly-urethane foam cushion.

‘83 / Memorialised / Eaton Center

Eaton's, which was once Canada's largest department store chain, partnered with development companies throughout the 1970s and 1980s to develop downtown shopping malls in cities across Canada. Each mall contained an Eaton's store, or was in close proximity to an Eaton's store, and typically the mall itself carried the "Eaton Centre" name. These joint-ventures represented a signi-ficant retail development trend in Canada during that period.

‘84 / Memorialised / Grace Kelly

«Grace Kelly 1984» was made by Andy Warhol in 1984. It was exposed in the Institute of Contem-porary Art, University of Pennsylvania with the consent of the Princess Grace Foundation (USA), New York.

‘85 / Memorialised / Columbia Center

The base of the building is clad in Rosa Purino Carnelian granite. The building's structure is com-posed of three geometric concave facades, causing the building to appear like three towers stan-ding side by side.

The tower was originally designed to be about 1,005 feet (306.5 meters) tall, but federal regula-tions by the FAA would not allow it to be that tall so close to the nearby Sea-Tac Airport. Prolific Seattle-area developer Martin Selig (b. 1936) used "public amenities," such as retail space and public areas, as "bonuses" to comply with land-use code requirements including those relating to height. There is an observation deck on the 73rd floor which offers views of Seattle and environs.

The top two floors of the building (75th and 76th) are occupied by the private Columbia Tower Club, which houses a restaurant, bar, library, and meeting rooms. An underground concourse connects the building to the nearby Seattle Municipal Tower and Bank of America Fifth Avenue Plaza.

1986 / Memorialised / Mount Rokko Chapel

This small wedding Chapel designed by Tadao Ando is located high above Kobe, Japan on Mount Rokko, discretely tucked behind a non-descript adjacent hotel. Ando uses the materials of concrete, glass and light to create a powerful spiritual place through a rich spatial sequence of light and darkness, direct and indirect natural light.

TheThe chapel is an almost square concrete volume that is flanked by an adjoining vertical bell tower and a tunnel of translucent glass. To access the chapel one enters from a back exit of the hotel, past a small pond and into a long tunnel of frosted glass which is flooded with a milky white light. The end of the tunnel is open with a view of nature, but no sign of a chapel.

TheThe altar space seems to be magically illuminated by light that falls from an unseen slit in the cei-ling above it and by a long and skinny vertical window to the side of it. The light-bathed concrete walls change form over time, through the passage of light, constantly animating and redefining the space. The dialogue between hard, direct light from the exterior ‘room’ and the soft, abstract light creates a space that has the power to transcend and transform and then bring one back to the physical world.

‘87 / Memorialised / Arab World Institute

The Institut du Monde Arabe (IMA) or Arab World Institute (AWI), in English, was established in 1987 in Paris, when 18 Arab countries concluded an agreement with France to establish the Insti-tute to disseminate information about the Arab world and set in motion detailed research to cover Arabic and the Arab world's cultural and spiritual values.

The Institute also aims at promoting cooperation and cultural exchanges between France and the Arab world, particularly in the areas of science and technology, thus contributing to development of relations between the Arab world and Europe.

‘88 / Memorialised / Latin America Memorial

The Latin America Memorial (in Portuguese, Memorial da América Latina) is a cultural, political and leisure complex, built in 1988 and inaugurated in 1989, in São Paulo, Brazil. The architectural setting, designed by Oscar Niemeyer, is a monument to the cultural, political, social and economic integration of Latin Ame-rica, spanning an area of 84,482 square meters. Its cultural project was deve-loped by Brazilian anthropologist Darcy Ribeiro. It is a public foundation, financial-ly and administratively autonomous, maintained by the state government.

1989 / Memorialised / Pyramide du Louvre

The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Desig-ned and Completed in 1989 by Leo Ming Pei, it has become a landmark of the city of Paris.

1990 / Memorialised / Villa d’All avas

The villa built by Rem Khoolaas is situated on a hill which slopes steeply toward the Seine, the Bois de Boulogne, and the city of Paris, in the residential area of Saint Cloud - a neighbourhood characterised by 19th century houses in a classical "Monet" landscape.

The client wanted a glass house with a swimming pool on the roof and two separate "apartments" - one for the parents, the other for the daughter. They also wanted a panoramic view - from their swimming pool - of the surrounding landscape and the city of Paris.

TheThe site is like a big room, with a boundary made of greenery, garden walls and slopes. It is com-posed of three parts: a sloping garden, the main volume of the villa, the street level garage with access in a cavity.

The house is conceived as a glass pavilion containing living and dining areas, with two hovering, perpendicular apartments shifted in opposite directions to exploit the view. They are joined by the swimming pool which rests on the concrete structure encased by the glass pavilion.

‘91 / Memorialised / Niterói Contemporary Art Museum

The Niterói Contemporary Art Museum (Museu de Arte Contemporânea de Niterói — MAC) is situated in the city of Niterói, Rio de Janeiro, Brazil, and is one of the city’s main landmarks. It xas designed in 1991 and completed in 1996.

DesignedDesigned by Oscar Niemeyer with the assistance of structural engineer Bruno Contarini, who had worked with Niemeyer on earlier projects, the MAC-Niterói is 16 meters high; its cupola has a dia-meter of 50 metres with three floors. The museum projects itself over Boa Viagem (“Bon Voyage,” “Good Journey”), the 817-square metre reflecting pool that surrounds the cylindrical base “like a flower,” in the words of Niemeyer.

‘92 / Memorialised / Kunsthal

The Kunsthal is a museum in Rotterdam, which opened its doors in 1992. The museum is situated in the Museumpark of Rotterdam next to the Natuurhistorisch Museum Rotterdam, and in the vici-nity of the Museum Boijmans Van Beuningen. Entrance to the Kunsthal is from the Westzeedijk. The building was designed by the architect Rem Koolhaas.

1993 / Memorialised / Carré d’art

The Carré d'art at Nîmes in southern France houses a museum of contemporary art and the city's library. Constructed of glass, concrete and steel, it faces the Maison Carrée, a perfectly preserved Roman temple that dates from the 1st century BC.

The building was constructed as part of a project to refurbish the square in which the Maison Carrée stands, and provide a new setting for the ancient temple.

InIn 1984, twelve architects, including Frank Gehry, Jean Nouvel and César Pelli were invited to submit proposals for the museum. A design by the British architect Norman Foster was selected, and the building was opened in May 1993.

The building is a nine-storey structure, half of which is sunk deep into the ground, keeping the buil-ding's profile low in sympathy with the scale of the surrounding buildings. The lower levels house archive storage and a cinema.

1994 / Memorialised / STMOMA

SFMOMA is a classic Mario Botta building: it is big, broad-chested and very strong. Located in a dense urban environment, its strong symmetry, bold massing and heavy masonry allow it to hold its own among the surrounding buildings that are many times its size. Justin Henderson, author of a book on the building, writes: “Botta’s building for SFMOMA derives its power from many sources: the masterly orchestration of pure geometric form on a grand scale, the integration of plain materials such as brick and sheetrock with the richer textures of stone and marble, and the subtle workings of light in elegant, well-proportioned galleries.” From the exterior, the signature elementelement is the truncated, zebra-striped cylinder that rises out of the red brick base. This “turret” is topped with a sloped glass skylight, creating a glowing lantern at night and providing daylight into the heart of the building by day.

1995 / Memorialised / Cathédrale de la résurrection d’Evry

Évry Cathedral, to be dedicated to Saint Corbinian, was therefore specially commissioned from the Swiss architect Mario Botta. It is the only purpose-built cathedral in France of the 20th century. Construction began in 1992 and the building was opened to the public on 11 April 1995, dedicated on Easter Day 1996, and visited by Pope John-Paul II on 22 August 1997. It has now superseded Corbeil Cathedral.

1996 / Memorialised / Bibliothèque François Mitterrand

On 14 July 1988, President François Mitterrand announced the construction and the expansion of one of the largest and most modern libraries in the world, intended to cover all fields of knowledge, and designed to be accessible to all, using the most modern data transfer technologies, which could be consulted from a distance, and which would collaborate with other European libraries. Surprisingly, the library does not maintain a wireless network. In July 1989, the services of the architectural firm of Dominique Perrault were retained. The construction was carried out by Bou-ygues. After the move of the major collections from the rue de Richelieu, the National Library of France opened to the public on 20 December 1996. It contains more than ten million volumes.France opened to the public on 20 December 1996. It contains more than ten million volumes.

1997 / Memorialised / Museo Guggenheim Bilbao

The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-American architect Frank Gehry, built by Ferrovial and located in Bilbao, Basque Country, Spain. It is built alongside the Nervion River, which runs through the city of Bilbao to the Atlantic Coast. The Guggenheim is one of several museums belonging to the Solomon R. Gug-genheim Foundation. The museum features permanent and visiting exhibits of works by Spanish and international artists.One of the most admired works of contemporary architecture, the building has been hailed as a "single moment in the architectural culture" because it represents "one of those rare moments when critics, academics, and the general public were all completely united about something."

The museum was the building most frequently named as one of the most important works comple-ted since 1980 in the 2010 World Architecture Survey among architecture experts.

The curves on the building were to appear random. The architect has been quoted[by whom?] as saying that "the randomness of the curves are designed to catch the light". When it was opened to the public in 1997, it was immediately hailed as one of the world's most spectacular buildings in the style of Deconstructivism, although Gehry does not associate himself with that architectural movement. Architect Philip Johnson called it "the greatest building of our time".

TheThe museum's design and construction serve as an object lesson in Gehry's style and method. Like many of Gehry's other works, it has a structure that consists of radically sculpted, organic contours. Sited as it is in a port town, it is intended to resemble a ship. Its brilliantly reflective tita-nium panels resemble fish scales, echoing the other organic life (and, in particular, fish-like) forms that recur commonly in Gehry's designs, as well as the river Nervión upon which the museum sits. Also in typical Gehry fashion, the building is uniquely a product of the period's technology. Com-puter Aided Three Dimensional Interactive Application (CATIA) and visualizations were used heavily in the structure's design.

1998 / Memorialised / Centre culturel Tjibaou

The Jean-Marie Tjibaou Cultural Centre in Nouméa was designed by Italian architect Renzo Piano with the concept of celebrating the vernacular Kanak (also, Canaque) culture of New Cale-donia. The centre is composed of 10 units called "cases," all of different sizes and different func-tions, but with the consistent form of vertically positioned shell-like structures which resemble the traditional huts of a Caledonian Village. They were given a deliberate "unfinished" appearance as a reminder that Kanak culture is still in the process of becoming - a belief held by the deceased Canaque leader, and inspiration for the site, Jean-Marie Tjibaou.

‘99 / Memorialised / urban house

This house was designed by Pablo Katz and situated in Paris. This Town Hall privileges above all the transparency and the serenity. Connections inside / outside are omnipresent in all the floors, in particular by the creation of terraces and visual dilations. The landscaped integration and the perpetuity are for the program of this very beautiful realization with metallic structure.

‘100 / Memorialised / Cité de la musique

The Cité de la Musique (French: City of Music) is a group of institutions dedicated to music and situated in the La Villette quarter, 19th arrondissement, Paris, France. It was designed by the architect Christian de Portzamparc and opened in 1995. It consists of an amphitheater; a concert hall that can accommodate an audience of 800-1,000; a museum of music, containing an impor-tant collection of classical music instruments dating mainly from the fifteenth- to twentieth-century; and exhibition halls, workshops and archives. Part of François Mitterrand's Grands Projets along with the Parc de la Villette, the Cité de la Musique reinvented La Villette - the former slaughte-rhouse district.

References

00:Villa Coilliot, 14 Rue Fleurus (Lilles)Hecto Guimardhhtp://1900.art.nouveau.free.fr

01:Victor Horta museum, 25, rue Américaine, 1060 Bruxelles (Saint-Gilles)Victor HortaVictor Hortahttp://www.irismonument.be - http://www.hortamuseum.be

02:The Willow tea rooms, 217 Sauchiehall, GlasgowCharles Rennie Mackintoshhttp://www.greatbuildings.com

03:03:Hill House, ScotlandCharles Rennie Mackintoshhttp://www.greatbuildings.com

04Casa Batllo, 43, Passeig de Gràcia, Barcelona, SpainAntonio Gaudihttp://en.wikipedia.org/wiki/Casa_Batllohttp://en.wikipedia.org/wiki/Casa_Batllo

05Palais Stoclet, Bruxelles, BelgiumJosef Hoffmanhttp://www.bozar.be

06:Villa Fallet, 1 Chemin de Pouillere, La Chaux-de-FondsCharles Edouart JeanneretCharles Edouart Jeannerethttp://www.myswitzerland.com, en.wikiarquitectura.com

07Robbie House, 5757 S. Woodlawn Avenue,Chicago, IllinoisFranck Lloyd Wrighthttp://en.wikipedia.org/wiki/Robie_House

08Josef Hoffmann Fledermaus CollectionJosef HoffmannJosef Hoffmannwww.bonluxat.com

09Guimard Hotel, 122 avenue Mozart, ParisHector Guimardhttp://www.flickr.com/photos, http://beautifulcentury.blogspot.com/

10Steiner house, Vienna, AustriaSteiner house, Vienna, AustriaAdolf Looswww.greatbuildings.com

11Casa Milà, 92, Passeig de Gràcia, Barcelona, Catalonia, Spain.Antonio Gaudihttp://en.wikipedia.org/wiki/Casa_Milà

1212Villa Jeanneret-Perret, La Chaux-de-Fonds, SuitzerlandLe Corbusierhttp://en.wikipedia.org/wiki/Villa_Jeanneret-Perret

13Man with guitarGeorges Braquewww.MOMA.orgwww.MOMA.org

14The Mud Bath, Peggy Guggenheim museum, VeniceDavid Bomberghttp://www.guggenheim.org

15:Ocean 5, Peggy guggenheim museum (Venice)Pietr Mondrianwww.moma.org

16:Le journal, Norton, museum artRuan GrisRuan Grishttp://www.artchive.com

17:red blue chairGerrit Rietveldwww.designicons.co.uk

18:You bore me, Moma museumYou bore me, Moma museumMarcel Duchampwww.understandingduchamp.com

19:LHOOQMarcel DuchampMusée National d'Art Moderne

20:20:Tatlin’s tower (project), PetrogradVladimir Tatlinhttp://www.cca.qc.ca

21:Hollyhock house, Los Angeles, USAFrank Lloyd Wrightwww.galinsky.comwww.galinsky.com

22:Amédée Ozenfant House, Paris, FranceLe Corbusierwww.greatbuildings.com

23:Vila Noailles, Hyères, FranceRobert Mallet Stevenswww.villanoailles-hyeres.com

24:Villa La Roche, Paris, FranceLe CorbusierLe Corbusierwww.fondationlecorbusier.fr

25:Wassily chairMarcel Breuerwww.design-technology.org

26:Rudolph Steiner House, London, UKRudolph Steiner House, London, UKMontague Wheelerwww.anth.org.uk

27:D42 ArmchairLudwig Mies Van der Rohewww.nova68.com

28:28:villa Müller, Prague, Czech RepublicAdolf Looshttp://www.galinsky.com/

29:Barcelona Pavillion, Barcelona, Catalunia, SpainLudwig Mies van der Roheww.miesbcn.com/en/pavilionww.miesbcn.com/en/pavilion

30:Villa Tugendhat, Brno, Czech RepublicLudwig Mies van der Rohewww.tugendhat.eu

31:Villa Savoye, Poissy, FranceLe Corbusierwww.greatbuildings.com, www.galinsky.com

32:Villa Cavroix, Lilles, FranceRobert Maller StevensRobert Maller Stevenswww.lemoniteur.fr

33:Lemke House, Berlin, DeutchlandLudwig Mies Van der Rohewww.germangalleries.com

34:Zigzag chairZigzag chairGerrit Thomas Rietveldwww.modernclassic.cn

35:Villa le Sextant, la Palmyre, FranceLe Corbusiereng.archinform.net

36:36:Riihitie House, Helsinki, FinlandAlvar Aaltoww.apartmenttherapy.com

37:Trocadéro, Palais Chaillot, Paris, FranceLéon Azéma, Jacques Carlu and Louis-Hippolyte Boileauwww.insecula.comwww.insecula.com

38:Gropius House, 68 Baker Bridge Road, Lincoln, Massachusetts, USAWalter Gropiuswww.historicnewengland.org

50:.Akari lightIsamu Nogushiakaristore.stores.yahoo.net

51:Farnsworth House, Illinois, USALudwig Mies Van der RoheLudwig Mies Van der Rohewww.farnsworthhouse.org

52:Chandigarh museum, Chandigarh, IndiaLe Corbusierchdmuseum.nic.in

53:Maison Jaoul, Neuilly, FranceMaison Jaoul, Neuilly, FranceLe Corbusierwww.greatbuildings.com

54:Jean Prouvé House, Nancy, FranceJean Prouvéwww.jeanprouve.com

55:55:Notre Dame de Ronchamp, Ronchamp, FranceLe Corbusierwww.ronchamp.fr

56:Eglise Saint Joseph, le Havre, FranceAuguste Perretwww2.archi.frwww2.archi.fr

57:Childs chair Kristian Vedel.Kristian Vedelarchitectmade.com

50:.Akari lightIsamu Nogushiakaristore.stores.yahoo.net

51:Farnsworth House, Illinois, USALudwig Mies Van der RoheLudwig Mies Van der Rohewww.farnsworthhouse.org

52:Chandigarh museum, Chandigarh, IndiaLe Corbusierchdmuseum.nic.in

53:Maison Jaoul, Neuilly, FranceMaison Jaoul, Neuilly, FranceLe Corbusierwww.greatbuildings.com

54:Jean Prouvé House, Nancy, FranceJean Prouvéwww.jeanprouve.com

55:55:Notre Dame de Ronchamp, Ronchamp, FranceLe Corbusierwww.ronchamp.fr

56:Eglise Saint Joseph, le Havre, FranceAuguste Perretwww2.archi.frwww2.archi.fr

57:Childs chair Kristian Vedel.Kristian Vedelarchitectmade.com

58:Norman Cherner ChairNorman Chernerwww.chernerchair.com

59:Maison Louis Carré, Bazoches-sur-Guyonne, FranceAlvar AaltoAlvar Aaltowww.linternaute.com, www.tourisme.yvelines.fr

60:Sainte Marie de la Tourette, Eveux, FranceLe Corbusierwww.couventlatourette.com

61:Carpenter Center, Cambridge, Massachusetts, USACarpenter Center, Cambridge, Massachusetts, USALe Corbusierwww.carpenterarts.org

62:Vanna Venturi House, Chestnut Hill, Philadelphia, Pennsylvania, USARobert Venturiwww.greatbuildings.com

63:63:Église Saint-Julien de Caen, GranceHenry Bernardwww.viamichelin.com

71:frank gehry rocking chair Franck Gehrywww.liveauctioneers.com, www.modernchairdesign.comwww.liveauctioneers.com, www.modernchairdesign.com

72:kimbell art museum, Fort Worth, Texas, USALouis Khanwww.kimbellart.org, www.greatbuildings.com

73:Sydney Opera House, Sydney, AustraliaJørn Utzonwww.cultureandrecreation.gov.au

74:Jatiyo Sangshad Bhaban, BangladeshLouis KhanLouis Khanwww.bangladesh.com

75:Mick Jagger 1975Andy Warholwww.martinlawrence.com

76:Azuma house, Osaka, JapanAzuma house, Osaka, JapanTadao Andowww.greatbuildings.com

77:Centre Georges Pompidou, Paris, FranceRichard Rogers, Renzo Pianowww.centrepompidou.fr

78:78:Franck Gerhy’s house, Los Angeles, USAFranck Gerhyhttp://www.greatbuildings.com/

79:The Atheneum, New Harmony, Indiana, USARichard Meierwww.newharmony.bizwww.newharmony.biz

80:Tower 42, London, UKRichard Seifertwww.tower42.com

81:National Palace of Culture, Sofia, BulgaryAtanas Agurahttp://www.aipc.org

82:Costes chairPhilip StarkPhilip Starkwww.designicons.co.uk

83:Eaton Center, Toronto, CanadaRudolph Adlafwww.torontoeatoncentre.com

84:Grace Kelly 1984, Institute of Contemporary Art, London, UKGrace Kelly 1984, Institute of Contemporary Art, London, UKAndy Warholwww.coskunfineart.com

85:Columbia Center, Seattle, Washington, USAChester Lindsey ArchitectsMagnusson Klemencic Associateswww.columbiacenter.orgwww.columbiacenter.org

86:Mount Rokko Chapel, Kobe, JapanTadao Andowww.galinsky.com

87:Arab world institute, Paris, FranceJean NouvelJean Nouvelwww.greatbuildings.com

88:Latin America Memorial, São Paulo, BrazilOscar Niemeyerarchitect.architecture.sk, www.greatbuildings.com

89:Pyramide du Louvre, Paris, FranceIeoh Ming Peiwww.greatbuildings.com

90:Villa d’all Avas,Saint Cloud, FranceRem KoolhaasRem Koolhaashttp://archive.chez.com, www.oma.eu

91:Niterói Contemporary Art Museum, Rio de Janeiro, BrazilOscar Niemeyerhttp://en.wikipedia.org, www.moma.org

92:Kunsthal, Rotterdam, NetherlandsKunsthal, Rotterdam, NetherlandsRem Koolhaaswww.kunsthal.nl

93:Carré d’art, 16 Place de la Maison Carree , Nimes, FranceSir Norman Foster carreartmusee.nimes.fr

94:94:SFMOMA, San Francisco, USAMario Bottawww.sfmoma.org, www.botta.ch

95:Cathédrale Notre Dame de la résurrection, Evry, FranceMario Bottahttp://en.wikipedia.org/wiki/Mario_Botta, www.botta.chhttp://en.wikipedia.org/wiki/Mario_Botta, www.botta.ch

96:Bibliothèque François Mitterand, Quai François-Mauriac, Paris, FranceDominique Perraudww.bnf.fr, multimedia.bnf.fr/visitefmitterrand

97:Museo Guggenheim, Bilbao, SpainFranck Gerrywww.guggenheim-bilbao.es, www.guggenheim.org

98:Centre culturel Tjibaou, Nouméa, New Calédonie, FranceRenzo PianoRenzo Pianowww.adck.nc, www.galinsky.com

99Urban house, Paris, FrancePablo Katzwww.starproperty.my

100Cité de la Musique, Paris, FranceCité de la Musique, Paris, FranceChritian de Portzamparcwww.cite-musique.fr