CURS 07 - Arh Moderna

Dezvoltarea oraselor in sec XIX si cresterea densitatii de locuireColt Hausmanian la Paris,fotografie de la 1900Urbanism hausmanian la Paris,Imagine satelit a Parisului in prezent

Boulevard Haussmann - Paris

London - Oxford Street - From a postcard dated 1900

Manchester in sec XIX revolutia industriala

Beginning in the early 1880s, the Chicago School pioneered steel-frame construction and, in the 1890s, the use of large areas of plate glass. These were among the first modern skyscrapers. William LeBaron Jenney's Home Insurance Building of 1885 is often considered to be the first to use steel in its structural frame instead of cast iron, but this building was still clad in heavy brick and stone. However, the Montauk Building, designed by John Wellborn Root Sr. and Daniel Burnham, was built in 18821883 using structural steel. In his account of the World's Columbian Exposition and the serial murderer, H. H. Holmes, The Devil in the White City (2004), Erik Larson states that the Montauk became the first building to be called a "skyscraper" (Larson 2003: 29). Daniel Burnham and his partners, John Welborn Root and Charles Atwood, designed technically advanced steel frames with glass and terra cotta skins in the mid-1890s, in particular the Reliance Building; these were made possible by professional engineers, in particular E. C. Shankland, and modern contractors, in particular George A. Fuller.Primele cladiri civile inalte Scoala de arhitectura de la ChicagoJenney, William Le Baron, architect. "Home Insurance Building, Exterior, Chicago, Illinois." Building/structure/site dates: 1884Link - http://en.wikipedia.org/wiki/Architecture_of_Chicago

Rookery Building exterior in 1891. - John Wellborn Root and Daniel Burnham of Burnham and Root in 1888

The Rookery was built in 1887-1888 by the architectural partnership of Daniel H. Burnham and John Wellborn Root, known as Burnham and Root. In the architectural boom that followed the Great Chicago Fire, architects in what would become known as the Chicago School of commercial architecture competed with each other to create the world's first true skyscrapers. By mixing modern building techniques such as metal framing, fireproofing, elevators and plate glass, together with traditional ones such as brick facades and elaborate ornamentation, Burnham and Root sought to create a bold architectural statement that would nonetheless survive as a commercially successful office building.[5] This building is one of the few results of their partnership that remains today.[6]

As the master artisan, Root drew upon a variety of influences in designing the interior and exterior spaces, including Moorish, Byzantine, Venetian and Romanesque motifs.[5] He also provided the architectural innovations that brought together many contemporary cutting edge building techniques. Of particular note was a "floating" foundation - a reinforced concrete slab that provided the building's weight with a solid platform atop Chicago's notoriously swampy soil.[5] The term for the type of foundation that Root designed is grillage foundation, a foundation where iron rails and the structural beams are combined in a crisscross pattern and encased in concrete to support the building's immense weight without heavy foundation stones.[2] This construction is particularly useful when structural loads are high compared to the natural bearing capacity of the soil.[

Contrasted with the original wrought iron surfaces (seen here), Wright's renovations significantly brightened the lobby's appearanceThe Rookery's light court serves as a focal point for the entire building.

Louis Henri Sullivan (September 4, 1856 April 14, 1924) was an American architect, and has been called the "father of modernism." He is considered by many as the creator of the modern skyscraper, was an influential architect and critic of the Chicago School, was a mentor to Frank Lloyd Wright, and an inspiration to the Chicago group of architects who have come to be known as the Prairie SchoolPrudential Building, also known as the Guaranty Building, Buffalo, New York, 1894

Form follows function is a principle associated with modern architecture and industrial design in the 20th Century, which states that the shape of a building or object should be predicated by or based upon its intended function or purpose.

In the context of design professions form follows function seems like good sense but on closer examination it becomes problematic and open to interpretation. Linking the relationship between the form of an object and its intended purpose is a good idea for designers and architects, but it is not always by itself a complete design solution. Defining the precise meaning(s) of the phrase 'form follows function' opens a discussion of design integrity that remains an important, lively debate.Wainwright Building by Louis SullivanSullivan developed the shape of the tall steel skyscraper in late 19th Century Chicago at the very moment when technology, taste and economic forces converged violently and made it necessary to drop the established styles of the past. If the shape of the building wasn't going to be chosen out of the old pattern book something had to determine form, and according to Sullivan it was going to be the purpose of the building. It was 'form follows function', as opposed to 'form follows precedent'. Sullivan's assistant Frank Lloyd Wright adopted and professed the same principle in slightly different formperhaps because shaking off the old styles gave them more freedom and latitude.

Is ornament functional?

In 1908 the Austrian architect Adolf Loos famously proclaimed that architectural ornament was criminal, and his essay on that topic would become foundational to Modernism and eventually trigger the careers of Le Corbusier, Walter Gropius, Alvar Aalto, Mies van der Rohe and Gerrit Rietveld. The Modernists adopted both of these equationsform follows function, ornament is a crimeas moral principles, and they celebrated industrial artifacts like steel water towers as brilliant and beautiful examples of plain, simple design integrity. Between 1945 and 1984 Modernism stood as the only respected architectural form in the mainstream of the profession. Everything else was illegitimate.

These two principlesform follows function, ornament is crimeare often invoked on the same occasions for the same reasons, but they do not mean the same thing. If ornament on a building may have social usefulness like aiding wayfinding, announcing the identity of the building, signaling scale, or attracting new customers inside, then ornament can be seen as functional, which puts those two articles of dogma at odds with each other.1928 Villa Muller de:Villa Mller, Prague (now in the Czech Republic)Modernism in architecture began as a disciplined effort to allow the shape and organization of a building to be determined only by functional requirements, instead of by traditional aesthetic concepts. It assumes that the designer will determine empirically (or decide arbitrarily) what is or is not a functional requirement. The resulting architecture tended to be shockingly simpler, flatter, and lighter than its older neighbors, possibly due to the limited number of functional requirements upon which the designs were based; their functionality and refreshing nakedness looked as honest and inevitable as an airplane. Modernists believed, perhaps incorrectly, that airplane design did not involve any aesthetic decisions by the airplane designers. A recognizable Modern vocabulary began to develop.

Walter Adolph Georg Gropius (May 18, 1883 July 5, 1969) was a German architect and founder of Bauhaus[1] who along with Marcel Breuer, Ludwig Mies van der Rohe and Le Corbusier, is widely regarded as one of the pioneering masters of modern architecture.Bauhaus (helpinfo) ("House of Building" or "Building School") is the common term for the Staatliches Bauhaus (helpinfo), a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933.

The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.

The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1927, Hannes Meyer from 1927 to 1930 and Ludwig Mies van der Rohe from 1930 to 1933, when the school was closed by the Nazi regime.

The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. When the school moved from Weimar to Dessau, for instance, although it had been an important revenue source, the pottery shop was discontinued. When Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.

Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Vlkisch Sommerfeld House.[14] The Dessau years saw a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly-founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer.

Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs, and this approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.

But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. As a vocal Communist, he encouraged the formation of a communist student organization. In the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Meyer was also compromised by a sexual scandal involving one of his students, and Gropius fired him in 1930.

Ludwig Mies van der Rohe, along with Walter Gropius and Le Corbusier, is widely regarded as one of the pioneering masters of modern architecture. Mies, like many of his post World War I contemporaries, sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created an influential 20th century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strived towards an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings "skin and bones" architecture. He sought a rational approach that would guide the creative process of architectural design, and is known for his use of the aphorisms "less is more" and Gustave Flaubert's "God is in the details".Neue Nationalgalerie at the Kulturforum is a museum for classical modern art in Berlin, with main focus on early the 20th century. It is part of the German National Gallery. The museum building and its sculpture garden were designed by Ludwig Mies van der Rohe and opened in 1968.

The Weissenhof Estate (or Weissenhof Settlement; in German Weienhofsiedlung) is an estate of working class housing which was built in Stuttgart in 1927. It was an international showcase of what later became known as the International style of modern architecture.The estate was built for the Deutscher Werkbund exhibition of 1927, and included twenty-one buildings comprising sixty dwellings, designed by sixteen European architects, most of them German-speaking. The German architect Mies van der Rohe was in charge of the project on behalf of the city, and it was he who selected the architects, budgeted and coordinated their entries, prepared the site, and oversaw construction. Le Corbusier was awarded the two prime sites, facing the city, and by far the largest budget.

Charles-douard Jeanneret-Gris, who chose to be known as Le Corbusier (October 6, 1887 August 27, 1965), was a Swiss-born architect, designer, urbanist, writer and also painter, who is famous for his contributions to what now is called Modern architecture. In his 30s he became a French citizen.

He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities. His career spanned 8 decades, with his buildings constructed throughout central Europe, India, Russia, and one each in North and South America. He was also an urban planner, painter, sculptor, writer, and modern furniture designer.1905 - Villa Fallet, La Chaux-de-Fonds, Switzerland1912 - Villa Jeanneret-Perret, La Chaux-de-Fonds [1]1916 - Villa Schwob, La Chaux-de-Fonds1923 - Villa La Roche/Villa Jeanneret, Paris1924 - Pavillon de L'Esprit Nouveau, Paris (destroyed)1924 - Quartiers Modernes Frugs, Pessac, France1925 - Villa Jeanneret, Paris1926 - Villa Cook, Boulogne-sur-Seine, France1927 - Villas at Weissenhof Estate, Stuttgart, Germany1928 - Villa Savoye, Poissy-sur-Seine, France1929 - Arme du Salut, Cit de Refuge, Paris1930 - Pavillon Suisse, Cit Universitaire, Paris1930 - Maison Errazuriz, Chile1931 - Palace of the Soviets, Moscow, USSR (project)1931 - Immeuble Clart, Geneva, Switzerland1933 - Tsentrosoyuz, Moscow, USSR1936 - Palace of Ministry of National Education and Public Health, Rio de Janeiro1938 - The "Cartesian" sky-scraper (project)1945 - Usine Claude et Duval, Saint-Di-des-Vosges, France1947-1952 - Unit d'Habitation, Marseille, France1948 - Curutchet House, La Plata, Argentina1949-1952 - United Nations headquarters, New York City (project)1950-1954 - Chapelle Notre Dame du Haut, Ronchamp, France1951 - Cabanon Le Corbusier, Roquebrune-Cap-Martin1951 - Maisons Jaoul, Neuilly-sur-Seine, France1951 - Mill Owners' Association Building, villa Sarabhai and villa Shodan, Ahmedabad, India1952 - Unit d'Habitation of Nantes-Rez, Nantes, France1952-1959 - Buildings in Chandigarh, India (with Iannis Xenakis) 1952 - Palace of Justice (Chandigarh)1952 - Museum and Gallery of Art (Chandigarh)1953 - Secretariat Building (Chandigarh)1953 - Governor's Palace (Chandigarh)1955 - Palace of Assembly (Chandigarh)1959 - Government College of Arts(GCA) and the Chandigarh College of Architecture(CCA)(Chandigarh)1956 - Museum at Ahmedabad, Ahmedabad, India1956 - Saddam Hussein Gymnasium, Baghdad, Iraq1957 - Unit d'Habitation of Briey en Fort, France1957 - National Museum of Western Art, Tokyo1957 - Maison du Brsil, Cit Universitaire, Paris1957-1960 - Sainte Marie de La Tourette, near Lyon, France (with Iannis Xenakis)1957 - Unit d'Habitation of Berlin-Charlottenburg, Flatowallee 16, Berlin1957 - Unit d'Habitation of Meaux, France1958 - Philips Pavilion, Brussels, Belgium (with Iannis Xenakis) (destroyed) at the 1958 World Expositon1961 - Center for Electronic Calculus, Olivetti, Milan, Italy1961 - Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts, United States1964 -1969 Firminy-Vert 1964 : Unit d'Habitation of Firminy, France1966 : Stadium Firminy-Vert1965 : Maison de la culture de Firminy-Vert1969 : Church of Saint-Pierre, Firminy, France, constructed posthumously and completed in 2006

1927 - Villas at Weissenhof Estate, Stuttgart, Germany Corbusier & Janneret

1927 - Villas at Weissenhof Estate, Stuttgart, Germany Corbusier & JanneretMacheta executata de un fan Corbusier in piese de LEGO

1927 - Villas at Weissenhof Estate, Stuttgart, Germany

1928 - Villa Savoye, Poissy-sur-Seine, France Le Corbusier

1928 - Villa Savoye, Poissy-sur-Seine, France Le CorbusierLipsa decoratiei Forma (care urmeaza functiunea) creaza arhitectura prin forta proprie

1928 - Villa Savoye, Poissy-sur-Seine, France Le CorbusierInchiderile interioare sunt determinate de considerente functionale

Link Slideshow 100 fotografii Vila Savoyehttp://millesabords.net/blog/2008/09/21/le-corbusier-villa-savoye/

Unite DHabitation (Cite Radieuse)

The idea to build the Cit Radieuse is the result of a research program that Le Corbusier oversaw for almost twenty-five years. The aim was to find a new architectural response to the problem of collective housing at a time when France was experiencing a severe housing shortage.

According to Le Corbusier, the Unit dHabitation creates a social space in which the individual and the collective are equally balanced. The central idea of the model remains simple: its to build on artificial grounds individual flats that are placed within the logic of a collective structure. The building itself stands on stilts. The way in which the Unit is organized and the integrated services it offers are meant to enrich social life in the building. By doing so, Le Corbusier invents a town object that transcends the ordinary functions of housing.

The Unite dHabitation Marseilles, designed by French architect Le Corbusier is a 19 level, reinforced concrete building. There are 337 apartments designed to house up to 1600 people. The living quarters begin on the second floor set on huge concrete piers, where the first floor is mostly an open sheltered plaza, except for the entrance to the building. Most of the 337 apartments are double height units that wrap vertically around horizontal streets that only occur on levels 2, 5, 10, 13, and 16. (See the building section, the streets are shown in blue, and the dwelling units are shown in alternating colors to show how the double height spaces wrap around the street.) The design planned for a 24 unit hotel with restaurant and bar (shown in the section in purple) and a variety of shops including a laundry, bakery, butcher, salon, pharmacy, and real estate and commercial offices on the seventh and eighth floors accessible from a double height gallery on the west side of the building. The flat roof is designed as a communal terrace with sculptural ventilation stacks, a swimming pool with childrens play area, a gymnasium, nursery school, solarium, open air theater and running track.

Unite DHabitation Ritmul fatadei si jocul de culoare

Unite DHabitation Apartamentul standard pe 2 nivele

Unite DHabitation Cresa / Gradinita pt copii

Unite DHabitation Scoala - lavoar

Unite DHabitation Scoala Salile de clasa

Viziunea lui CorbusierAplicarea unitatii de locuire la scara globala => Nasterea urbanismului functionalist

Viziunea lui Corbusier aplicata orasului Paris Plan Voisin Din fericire nematerializata

Blocul functionalist

+ este asigurata o locuinta la un pret accesibil+ sunt asigurate conditiile traiului decent+ igienic si sanitar locuinta este corespunzatoare

Comparativ cu locuirea intr-un oras din perioada de inaintea celui de-al 2-lea razboi mondial, oras cu care era obisnuit, individul este fortat sa traiasca in conditii noi, straine, cu care nu este obisnuitomul este fortat sa locuiasca intr-o matrice ale carei coordonate trebuie sa le cunoasca, nu exista alt reperlocuinta este depersonalizata, standard

Locuirea la bloc a fost o solutie potrivita in multe cazuri situatiei create dupa razboi in care multa populatie ramasese fara locuinta, solutie potrivita cel putin pe termen scurt si mediu.

In Romania s-a continuat constructia de blocuriFunctionaliste pana in 1989 desi in alte parti ale lumii se renuntase demult, inca din anii 70, multe dintre acestea fiind demolate deoarece au ajuns sa fie privite ca o locuinta inferioara, a imigrantilor, devenind sursa de infractionalitate.

Stilurile Sec XXAu fost prezentateCuprinde partial sau total Stilurile din perioada 1930-1960

Frank Lloyd Wright stil Prairie 1900-1917Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 April 9, 1959) was an American (of Welsh descent) architect, interior designer, writer and educator, who designed more than 1,000 projects, which resulted in more than 500 completed works.[1]

Wright promoted organic architecture (exemplified by Fallingwater), was a leader of the Prairie School movement of architecture (exemplified by the Robie House and the Westcott House), and developed the concept of the Usonian home (exemplified by the Rosenbaum House). His work includes original and innovative examples of many different building types, including offices, churches, schools, hotels, and museums. Wright also often designed many of the interior elements of his buildings, such as the furniture and stained glass.

Wright authored 20 books and many articles, and was a popular lecturer in the United States and in Europe. His colorful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio.

Already well-known during his lifetime, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time".

Between 1900 and 1917, Wrights residential designs were "Prairie Houses", so-called because the design is considered to complement the land around Chicago. These houses featured extended low buildings with shallow, sloping roofs, clean sky lines, suppressed chimneys, overhangs and terraces, using unfinished materials. The houses are credited with being the first examples of the "open plan."

The manipulation of interior space in residential and public buildings are hallmarks of his style. One such building is Unity Temple, the home of the Unitarian Universalist congregation in Oak Park. As a lifelong Unitarian and member of Unity Temple, Wright offered his services to the congregation after their church burned down in 1904. The community agreed to hire him and he worked on the building from 1905 to 1908. He believed that humanity should be central to all design.Stilul Prairie The Usonian HouseDarwin D. Martin House, Buffalo, New York

Casa Robbie

Casa Willits Frank Lloyd Wright

Casa de pe cascada Frank Lloyd WrightProbabil cea mai celebra casa construita vreodata

Guggenheim Museum - New YorkFrank Lloyd Wright - 1959

Philip Johnson The Glasshouse or Johnson house, built in 1949 in New Canaan, Connecticut

Seagram Building Philip Johnson, Mies van der Rohe

The Seagram Building is a skyscraper in New York City, located at 375 Park Avenue, between 52nd Street and 53rd Street in Midtown Manhattan (GIS coordinates +40.7582, -73.972). It was designed by the German architect Ludwig Mies van der Rohe, in collaboration with the American Philip Johnson and was completed in 1958. It is 515 feet tall with 38 stories. It stands as one of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism.This structure, and the International Style in which it was built, had enormous influences on American architecture. One of the style's characteristic traits was to express or articulate the structure of buildings externally.[1] A building's structural elements should be visible, Mies thought. The Seagram building (like virtually all large buildings of the time) was built of a steel frame, from which non-structural glass walls were hung. Mies would have preferred the steel frame to be visible to all; however, American building codes required that all structural steel be covered in a fireproof material, usually concrete, because improperly protected steel columns or beams may soften and fail in confined fires.[2] Concrete hid the structure of the building something Mies wanted to avoid at all costs so Mies used non-structural bronze-toned I-beams to suggest structure instead. These are visible from the outside of the building, and run vertically, like mullions, surrounding the large glass windows. Now, observers look up and see a "fake and tinted-bronze" structure covering a real steel structure. This method of construction using an interior reinforced concrete shell to support a larger non-structural edifice has since become commonplace. As designed, the building used 3.2 million pounds of bronze in its construction.

Art Deco was a popular international design movement from 1925 until 1939, affecting the decorative arts such as architecture, interior design, and industrial design, as well as the visual arts such as fashion, painting, the graphic arts and film. This movement was, in a sense, an amalgam of many different styles and movements of the early 20th century, including Neoclassical, Constructivism, Cubism, Modernism, Art Nouveau, and Futurism.[1] Its popularity peaked in Europe during the Roaring Twenties[2] and continued strongly in the United States through the 1930s.[3] Although many design movements have political or philosophical roots or intentions, Art Deco was purely decorative.[4] At the time, this style was seen as elegant, functional, and modern. Art Deco experienced a decline in popularity during the late 30s and early 40s, and soon fell out of public favor. It experienced a resurgence with the advent of graphic design in the 1980s. Art Deco had a profound influence on many later artistic movements, such as Memphis and Pop art. Surviving examples may still be seen in many different locations worldwide, in countries as diverse as the United Kingdom, Cuba, the Phillipines, and Brazil. Many classic examples still exist in the form of architecture in many major cities. The Chrysler building, designed by William Van Alen, is a classic example of this, as it is one of the most notable examples of Art Deco architecture today.The art-deco spire of the Chrysler Building in New York, built 19281930.

The American Radiator Building (since renamed to the American Standard Building) is a 338 ft. tall building in New York City in the borough of Manhattan, located at 40 West 40th Street looking out onto Bryant Park.

With 23 floors, it was conceived by the architects Raymond Hood and John Howells in 1924 and built for the American Radiator and Standard Sanitary Company. The structural form is based on that of the Chicago Tribune building.

The black brick on the frontage of the building (symbolizing coal) was selected to give an idea of solidity and to give the building a solid mass. Other parts of the facade were covered in gold bricks (symbolizing fire), and the entry was decorated with marble and black mirrors. Once again, the talents of Rene Paul Chambellan were employed by Hood and Howells for the ornamentation and sculptures.Stilul Art Deco in anii 20-40 in NY

The Empire State Building is a 102-story Art Deco skyscraper in New York City at the intersection of Fifth Avenue and West 34th Street. Its name is derived from the nickname for the state of New York. It stood as the world's tallest building for more than forty years, from its completion in 1931 until construction of the World Trade Center's North Tower was completed in 1972. Following the destruction of the World Trade Center in 2001, the Empire State Building again became the tallest building in New York City and New York State.Stilul Art Deco in anii 20-40 in NY

Palatul Telefoanelor ("the Telephone Palace") is an art deco style building in Bucharest, Romania. Until 1970, the 52.5 meter building was the tallest building in Romania.[1]

The Great Depression that began with the Wall Street Crash of 1929 strongly impacted the Romanian economy. The Romanian government decided to take a loan from the American trust, Morgan, which obtained from this transaction the granting of a 20-year monopoly on Romanian telephony to the International Telephone and Telegraph Corporation (ITT),[2] which then formed the Societatea Anonim Romn de Telefoane (SART, "Romanian Telephone Company, Ltd.").[3] The aim was to modernize Romanian telephony and to construct the Telephone Palace.[4]

Designed on behalf of SART by the Romanian architect of Dutch origin Edmond Van Saanen Algi and built over the course of about 20 months in 19311933, it was the first major modernist building on Bucharest's Calea Victoriei,[5] the street of which Tudor Octavian wrote, "this is how the whole of Bucharest would look if we had been allowed, if its builders had been clever enough"

Stalinist architecture (also referred to as Stalin's Empire style, Stalinist Gothic, or Socialist Classicism) is a term given to architecture of the Soviet Union between 1933, when Boris Iofan's draft for Palace of Soviets was officially approved, and 1955, when Nikita Khruschev condemned "excesses" of the past decades and disbanded the Soviet Academy of Architecture.Main building of the Moscow State University

Rosenfeld's twin towers in Dorogomilovo, 1946 completion of 1938-1941 development planKharkiv, Railway Stationhttp://www.thethinkingblog.com/2007/08/gothic-stalinist-soviet-skyscrapers.html

The "Big Three" at the Yalta Conference, Winston Churchill, Franklin D. Roosevelt and Joseph StalinUS and USSR/Russian nuclear weapons stockpiles, 19452006

Futurist architecture (or Futurism) began as an early-20th century form of architecture characterized by anti-historicism and long horizontal lines suggesting speed, motion and urgency. Technology and even violence were among the themes of the Futurists. The movement was founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians, and artists (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. The latter group included Antonio Sant'Elia, who, though he built little, translated the Futurist vision into bold urban form

The term Brutalist Architecture originates from the French bton brut, or "raw concrete", a term used by Le Corbusier to describe his choice of material. The Brutalist style of architecture spawned from the modernist architectural movement and which flourished from the 1950s to the mid 1970s. In 1954, the English architects Alison and Peter Smithson coined the term, but it gained currency when the British architectural critic Reyner Banham used it in the title of his 1966 book, "The New Brutalism", to identify the emerging style.Boston City Hall, part of Government Center, Boston, Massachusetts(Gerhardt Kallmann and N. Michael McKinnell, 1969)

Council House is a high modernist skyscraper set in the Supreme Court Gardens of Perth, Western Australia. It was designed by Howlett and Bailey Architects and opened by The Queen during the 1962 British Empire and Commonwealth Games

The J. Edgar Hoover Building is in Washington, D.C.. It is the headquarters of the Federal Bureau of Investigation (FBI)

Centre Pompidou ParisStil Hi-TechRenzo Piano, Richard Rogers1971-1977

Tokyo International ForumRafael Vinoly

Tadao Ando (And Tadao, born September 13, 1941, in Osaka, Japan) is a Japanese architect whose approach to architecture was once categorised as critical regionalism. Ando has led a storied life, working as a truck driver and boxer prior to settling on the profession of architecture, despite never having taken formal training in the field.

He works primarily in exposed cast-in-place concrete and is renowned for an exemplary craftsmanship which invokes a Japanese sense of materiality, junction and spatial narrative through the pared aesthetics of international modernism.

In 1969, he established the firm Tadao Ando Architects & Associates.

Church of LightTadao Ando

Materialul:Tadao AndoMaestru al Betonului Armat si al liniei drepte

Materialul:FRANK O. GEHRYMaestru al Metalului si al liniei curbe

FRANK O. GEHRYGuggenheim Museum BilbaoStil Deconstructivist

Dancing House in Prague by Vlado Miluni and Frank Gehry

Libeskind's Imperial War Museum North in Manchester.

Toyo ItoTods Building

Finalul partii I Istoria Arhitecturii

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CURS 07 - Arh Moderna