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COMPARATIVE ARCH. THOUGHT II
Name: Abdullah Abdulaziz AL Ghamdi
ID Number: 0909448
Location: Pacific Palisades, California
Built: 1949
Architectural style: Modern
Governing body: Private
The Eames House (also known as Case Study House
No)
is a landmark of mid-20th century modern
architecture
It was constructed in 1949 by husband-and-wife
design pioneers Charles and Ray Eames, to serve as
their home and studio.
Perspectives
Location: CHICAGO
Built: 1922
Architectural style: Modern
One of the most significant events in the history of modern
architecture was the Tribune Tower international
competition in 1922 when the Chicago Tribune, the city's
oldest and most important newspaper, offered a $50,000
prize for the winning design of "the most beautiful and
distinctive office building of the world". More than 263
architects from three continents responded with a broad
constellation of designs ranging from Byzantine to Bauhaus.
The List of contemporary european architects contains
Walter Gropius and Adolf Meyer, Ludwig Karl Hilbe
rsheimer, Bruno Taut, Hans and Wassili Luckhardt and many
more..
Architect: Adolf Loos
Adolf Franz Karl Viktor Maria Loos[1] (10
December 1870 – 23 August 1933) was a
Moravian-born[2] Austro-Hungarian architect. He
was influential in European Modern architecture,
and in his essay Ornament and Crime he
repudiated the florid style of the Vienna
Secession, the Austrian version of Art Nouveau.
In this and many other essays he contributed to
the elaboration of a body of theory and criticism
of Modernism in architecture.
Location: Chestnut Hill, Philadelphia, Pennsylvania
Built: 1962
Architectural style: Post-Modern
"Venturi's first important project to be built was his mother's
house, the Vanna Venturi House of 1961-1964. Disarmingly simple
after the spatial antics of later Modernism, its plan, like that of the
Beach House project, is based on a symbolic conception rather than
upon one that is purely spatially abstract. It is centered on the idea
of the chimney, the hearth, from which— and you can feel it—the
space is pulled. The space is distended from that hearth as the
mass of the chimney rises up to split the house. Here the principle
of condensation becomes an extremely complex and interesting
one. With the chimney rising through the gable, the general parti
derives from that of the Beach House. Now, however, the living
room is half-vaulted, and that semicircle is picked up in the tacked-
on arch of the facade; now, the whole house is rising and being
split through the middle."
Architect: Robert Venturi
Robert Charles Venturi, Jr. (born June 25, 1925 in Philadelphia)
is an American architect, founding principal of the firm
Venturi, Scott Brown and Associates, and one of the major
figures in the architecture of the twentieth century. Together
with his wife and partner, Denise Scott Brown, he helped to
shape the way that architects, planners and students
experience and think about architecture and the American
built environment. Their buildings, planning, theoretical
writings and teaching have contributed to the expansion of
discourse. Venturi was awarded the Pritzker Prize in
Architecture in 1991.[1] He is also known for coining the
maxim "Less is a bore" a postmodern antidote to Mies van der
Rohe's famous modernist dictum "Less is more". Venturi lives
in Philadelphia with Denise Scott Brown. They have a son,
James Venturi.
Perspectives
The New York Five refers to a group of five New York City architects
(Peter Eisenman, Michael Graves, Charles Gwathmey, John Hejduk
and Richard Meier) whose work appeared in a Museum of Modern
Art exhibition organized by Arthur Drexler in 1967, and the
subsequent book Five Architects in 1972.
These five had a common allegiance to a pure form of architectural
modernism, harkening back to the work of Le Corbusier in the 1920s
and 1930s, although on closer examination their work was far more
individual.[1] The grouping may have had more to do with social and
academic allegiances, particularly the mentoring role of Philip
Johnson.
The show did produce a stinging rebuke in the May 1973 issue of
Architectural Forum, a group of essays called "Five on Five", written
by architects Romaldo Giurgola, Allan Greenberg, Charles Moore,
Jaquelin T. Robertson, and Robert A. M. Stern.[1] These five, known
as the "Grays", attacked the "Whites" on the grounds that this
pursuit of the pure modernist aesthetic resulted in unworkable
buildings that were indifferent to site, indifferent to users, and
divorced from daily life. These "Grays" were aligned with
Philadelphia architect Robert Venturi and the emerging interest in
vernacular architecture and early postmodernism.
1- Charles Gwathmey
Charles Gwathmey (June 19, 1938 – August 3, 2009) was an American architect. He was a
principal at Gwathmey Siegel & Associates Architects, as well as one of the five architects
identified as The New York Five in 1969. One of Gwathmey's most famous designs is the
1992 renovation of Frank Lloyd Wright's Guggenheim Museum in New York City.
Born in Charlotte, North Carolina, he was the son of the American painter Robert
Gwathmey and photographer Rosalie Gwathmey. Charles Gwathmey attended the
University of Pennsylvania and received his Master of Architecture degree in 1962 from
Yale School of Architecture,[1] where he won both The William Wirt Winchester
Fellowship as the outstanding graduate and a Fulbright Grant.
Gwathmey served as President of the Board of Trustees for The Institute for Architecture
and Urban Studies and was elected a Fellow of the American Institute of Architects in
1981.
2- John Hejduk
John Quentin Hejduk (19 July 1929 – 3 July 2000), was an American architect,
artist and educator who spent much of his life in New York City, USA. Hejduk is
noted for his use of attractive and often difficult-to-construct objects and
shapes; also for a profound interest in the fundamental issues of shape,
organization, representation, and reciprocity.
Hejduk studied at the Cooper Union School of Art and Architecture, the
University of Cincinnati, and the Harvard Graduate School of Design, from
which he graduated with a Masters in Architecture in 1953. He worked in
several offices in New York including that of I. M. Pei and Partners and the
office of A.M. Kinney and Associates. He established his own practice in New
York in 1965.
3- Michael Graves
(b. Indianapolis, Indiana 1934)
Michael Graves was born in Indianapolis, Indiana in 1934. He studied at the
University of Cincinnati, Ohio and at Harvard University. After working as a Fellow at
the American Academy in Rome for two years, he started his own practice in
Princeton, New Jersey. He became a professor at Princeton University in 1972.
A member of the "New York Five", Graves re-interpreted the rational style that had
been introduced by Le Corbusier in the 1920s into a neoclassical style. By the mid-
1970s, Graves had become less concerned with the roots of Modernism and had
developed a wide-ranging eclecticism in which he abstracted historical forms and
emphasized the use of color.
Michael Graves generates an ironic, vision of Classicism in which his buildings have
become classical in their mass and order. Although influenced by the fundamentalists
in developing an architectural language, Graves has become an an opponent of
modern works who uses humor as an integral part of his architecture. Indeed, many
of his recent designs seem to celebrate architectural pastiche and kitsch.
4- Peter eisenman
Peter Eisenman (born August 11, 1932 in Newark, New
Jersey[1]) is an American architect. Eisenman's professional
work is often referred to as formalist, deconstructive, late
avant-garde, late or high modernist, etc. A certain fragmenting
of forms visible in some of Eisenman's projects has been
identified as characteristic of an eclectic group of architects that
were (self-)labeled as deconstructivists, and who were featured
in an exhibition by the same name at the Museum of Modern
Art. The heading also refers to the storied relationship and
collaborations between Peter Eisenman and post-structuralist
thinker Jacques Derrida.
5- Richard Meier
Meier is Jewish [1] and was born in Newark, New Jersey.
[2] He earned a Bachelor of Architecture degree from
Cornell University in 1957, worked for Skidmore, Owings
and Merrill briefly in 1959, and then for Marcel Breuer for
three years, prior to starting his own practice in New York
in 1963. Identified as one of The New York Five in 1972,
his commission of the Getty Center in Los Angeles,
California catapulted his popularity into the mainstream.
Richard Meier & Partners Architects has offices in New
York and Los Angeles with current projects ranging from
China and Tel Aviv to Paris and Hamburg.
Location: Norman, Oklahoma
Date 1950 to 1955
Building Type: hous
Architectural style: Post-Modern
The Bavinger House was completed in 1955 in Norman, Oklahoma,
United States. It was designed by architect Bruce Goff. Considered a
significant example of organic architecture,[2][3] the house was awarded
the Twenty-five Year Award from the American Institute of Architects in
1987.
The house was built over the course of five years by Nancy and Eugene
Bavinger, the residents of the house, who were artists, along with the
help of a few of Eugene's art students, volunteers, and local businesses.
The wall of the house is a 96 foot long logarithmically curved spiral,
made from 200 tons of stone, some of it local "ironrock" sandstone taken
from a quarry three miles away that Bavinger purchased. The structure is
anchored by a recycled oil field drill stem that was reused to make a
central mast more than 55 feet high. The house has no interior walls;
instead there are a series of platforms at different heights, some with
curtains that can be drawn for privacy. The ground floor is covered with
pools and planted areas.
Architect: Bruce Goff
Location: Worth, Texas
Date: 1967 to 1972
Building Type: art museum
Architectural style: Modern
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.
Architect: Louis I. Kahn
Christian de Portzamparc was born in Casablanca in 1944, and graduated from the School of
Fine Arts in Paris in 1970. He created his agency in 1980, supported by Marie-Élisabeth
Nicoleau, Étienne Pierrès and Bertrand Beau, and later welcomed Bruno Durbecq, Céline
Barda, Léa Xu, André Terzibachian and Clovis Cunha. Based in Paris, the agency has
„satellite‟ offices near building sites, in addition to offices in New York and Rio de Janeiro,
and represents a team of 80 people, drawn from all corners of the globe.
Both an architect and urban planner, Christian de Portzamparc is implicated in the research
of form and meaning, as well as being a constructer. His work focuses on research over
speculation and concerns the quality of life; aesthetics are conditioned by ethics, and he
maintains that we have too often dissociated one from the other. Christian de Portzamparc
focuses on all scales of construction, from simple buildings to urban re-think; the town is a
founding principal of his work, developing in parallel and in crossover along three major
lines: neighbourhood or city pieces, individual buildings and sky-scrapers.
The growth of Christian de Portzamparc‟s urban projects through competitions and studies
led to an evolution of methods, a practical result of theoretical research and analysis. This
renewed vision of urban structure, which he named the “open block” in the 80‟s, can be seen
today through projects such as the Quartier Masséna - Seine Rive Gauche (since 1995), an
entire neighbourhood of Paris, and at La Lironde (since 1991), in the south of France, both
of which illustrate his master-planning and coordination techniques.
*1791-1791
*1791-1797
*1791-1799
*1791-1799
*1799-1771
*1797-1771
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*1771-1771
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*1779-6111
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*6111-6112 “
*6119-6117
Educated as an engineer, he graduated from the Escuela Libre de
Ingenieros in Guadalajara in 1923 and was self-trained as an
architect.
After graduation, he travelled through Spain, France (where he
attended lectures of Le Corbusier), and Morocco. While in France he
became aware of the writings of Ferdinand Bac, a German-French
writer, designer and artist who had a huge influence on Barragán's
future career.[1] He practiced architecture in Guadalajara from 1927–
1936, and in Mexico City thereafter.
Important works
Torres de Satélite, Mexico City (1957–58), in collaboration with Mathias
Goeritz
* Las Arboledas / North of Mexico City (1955–1961)
* House for the architect / Barragán House, Mexico City (1947–48)
* Jardines del Pedregal Subdivision, Mexico City (1945–53)
* Tlalpan Chapel, Tlalpan, Mexico City (1954–60)
* Gálvez House, Mexico City (1955)
* Jardines del Bosque Subdivision, Guadalajara (1955–58)
* Torres de Satélite, Mexico City (1957–58), in collaboration with
Mathias Goeritz
* Cuadra San Cristóbal, Los Clubes, Mexico City (1966–68)
* Gilardi House, Mexico City (1975–77)