Architecture Final Review

Оставить первую оценку

Учащиеся также просматривали

PAPER 2.1 URBAN ISSUES AND CHA... Art & Composition Color Vocab (D - ... Greek Week 10 - Commemoration an... week 2: Jurisdictional ro

72 термина 16 терминов 7 терминов 29 терминов

e Предварительный просмотр s Предварительный просмотр e Предварительный просмотр a Предваритель

 

Термины в модуле (132)

Finnish architect and designer, as well as a sculptor and painter.[1] His work includes
architecture, furniture, textiles and glassware. Aalto's early career runs in parallel with the rapid
economic growth and industrialization of Finland during the first half of the twentieth century
and many of his clients were industrialists; among these were the Ahlström-Gullichsen family.
[2] The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work,
Alvar Aalto ranging from Nordic Classicism of the early work, to a rational International Style Modernism
during the 1930s to a more organic modernist style from the 1940s onwards. His furniture
designs were considered Scandinavian Modern.[3] What is typical for his entire career,
however, is a concern for design as a Gesamtkunstwerk, a total work of art; whereby he -
together with his first wife Aino Aalto - would design not just the building, but give special
treatments to the interior surfaces and design furniture, lamps, and furnishings and glassware.

Aalto had made his first trip to Italy in 1924, during which he had been greatly impressed by the
architettura minore of small, simple churches in rural settings. His travel mpressions are much in
evidence in the church of Muurame, with the tall campanile on one side of the rounded
chancel, the single-aisle interior with a barrel vault (originally painted black) over a system of
joists, and the parish hall in the form of a side chapel to the right of the chancel. A staircase
leads down from this room to an exit with a loggia in Brunelleschi style. The vestry is in the bell
tower at the level of the chancel.High quality the best and most fashionable replica
Muurame Church, Muurame, Finland, 1926-29.
rolexreplica watches online of the replica watches store. The original 1926 plan included a 'rose
garden' at an right angle between the church and the side chapel, a taller campanile, and
painted figures in the entrance vaulting. These features were omitted, as were the intended
apse paintings. Aalto worked out the interior with great care, preparing numerous detail
drawings. The furnishings, designed fairly late in the project, took on elements of Aalto´s
'conversion' to Functionalism in 1928. Thus, Danish PH lamps were used for interior lighting, and
the vestry furniture was of tubular steel.

Aalto, Casa Lauren, Jyvaskyla, Finland, 1925-28

Alvar Aalto, Jyvaeskylae Singing Festival

Entrance, Jyvaskyla, 1924
The low, stuccoed wooden single-storey house originally had a pitched sod roof and a
colonnade all along the long wall facing the lake. Contains a kitchen, living room, and
bedroom. An extension was built in 1938, consisting of two bedrooms placed in a transverse
Villa Flora, Alvar and Aino Aalto Summer House
wing with vertical weatherboarding. The sandy beach which once was right in front of the
house has retreated as the lake surface has sunk, and new settlement nearby has deprived the
place of its former charm.

Architecture Final Review


Alvar Aalto, Paimio Sanatorium, Paimio, Finland
Paimio Chair, Alvar Aalto
Amphora and its use in the chair
Aalto, Savoy Vase
Viipuri Library, Auditorium.
Forest Pavillion, Lapua, Finland, Aalto
Baker House, MIT, Aalto
Architecture Final Review
Paimio Sanatorium is a former tuberculosis sanatorium in Paimio, Southwest Finland, designed
by Finnish architect Alvar Aalto. The building was completed in 1932, and soon after received
critical acclaim both in Finland and abroad. The building served exclusively as a tuberculosis
sanatorium until the early 1960s, when it was converted into a general hospital.
Aalto's starting point for the design of the sanatorium was to make the building itself a
contributor to the healing process. He liked to call the building a "medical instrument". For
instance, particular attention was paid to the design of the patient bedrooms: these generally
held two patients, each with his or her own cupboard and washbasin. Aalto designed special
non-splash basins, so that the patient would not disturb the other while washing. The patients
spent many hours lying down, and thus Aalto placed the lamps in the room out of the patients'
line of vision and painted the ceiling a relaxing dark green so as to avoid glare. Each patient
had their own specially designed cupboard, fixed to the wall and off the floor so as to aid in
cleaning beneath it.
Admired as much for its sculptural presence as for its comfort, the Paimio Chair is a tour de
force in bentwood that seems to test the limits of plywood manufacturing. The chair's
framework consists of two closed loops of laminated wood, forming arms, legs, and floor
runners, between which rides the seat—a thin sheet of plywood tightly bent at both top and
bottom into sinuous scrolls, giving it greater resiliency. Inspired by Marcel Breuer's tubular-
steel Wassily Chair of 1927—28, Aalto chose, instead, native birch for its natural feel and
insulating properties, and developed a more organic form. Used in the patients' lounge, the
angle of the back of this armchair was intended to help sitters breathe more easily.
The Aalto Vase, also known as the Savoy Vase, is a piece of glassware created by Alvar Aalto
and his wife Aino Marsio that has become an internationally known iconic piece of Finnish
design.[1][2] It became known as the Savoy vase because it was one of a range of custom
furnishings and fixtures created by Alvar Aalto and Aino for the luxury Savoy restaurant in
Helsinki that opened in 1937.
This renaissance is nothing less than extraordinary. Abandoned for over a decade and allowed
to fall into complete disrepair, the building was once so forgotten that many believed it had
actually been demolished. [1] For decades, architects studied Aalto's project only in drawings
and prewar black-and-white photographs, not knowing whether the original was still standing,
and if it was, how it was being used. Its transformation from modern icon to deserted relic to
architectural classic is a tale of political intrigue, warfare, and the perseverance of a dedicated
few who saved the building from ruin.
The event took place in late summer 1938; Aalto designed the highly original pavilion in June.
Its external dimensions were 18 x 14.5 metres, with the height falling from 4.75 to 2.75 metres.
Softly curving, with no corners, its form appeared to be free, but the plans reveal that the walls
consisted of straight surfaces alternating with circle segments having a standard radius of 200
cm (the famous 'free-form' ceiling of the Viipuri Library auditorium was also based on perfectly
regular repetition). The vertical panelling of overlapping poles is a variant of the Paris pavilion
and the Villa Mairea. The backward-leaning flat roof is supported by eight clusters of pillars,
each consisting of three unstripped pine saplings. Light enters through eleven 250 x 50 cm
skylights. Various wood-processing companies had their stands and information desks in the
pavilion. The building was designed quite independently on the basis of Aalto's summary
instructions by Jarl Jaatinen, the most talented assistant at the office at the time, who was killed
shortly afterwards in the war.
Alvar Aalto designed the Baker House in 1946 while he was a professor at the Massachussets
Institute of Technology, where the dormitory is located. It received its name in 1950, after the
MIT's Dean of Students Everett Moore Baker was killed in an airplane crash that year.
The dormitory is a curving snake slithering on its site and reflects many of Aalto's ideas of
formal strategy, making it a dormitory that is both inhabited and studied by students from all
over the world. "The site runs along the north side of the Charles River and from the very start
Aalto's plans seek to find ways of maximizing the view of the river for every student. Early
sketches show clusters of rooms facing south and, because a simple single-sided slab would
not contain sufficient rooms, several ways of increasing the density: by parallel blocks in
echelon, by fan-shaped ends, and by the "giant gentle polygon" resolving itself into a sinuous
curve, that was finally adopted."

Aalto, Finnish Pavillion at the New York World's Fair
Alvar Aalto, Ski Track in the snow, 1914, compared to Le
Corbusier's Still Life in 1923.
Alvar Aalto, Travel Sketch from Italy
Paul Cezanne, Mont Sainte-Victoire
Villa Marea, Aalto
Aalto Family Helsinki Home
Destroyed homes in Finland during WW2.
Returning Veteran's House, aka A-house
Church of the three crosses, Aalto
Saynatsalo Town House
Hansaveirtal Housing Block, Berlin
Architecture Final Review
The pavilion is composed of four floors for a total of 16 meters in height. The upper part of the
exhibition shows the country. The following people. The third below the job. The area below
summarizes these three conditions and presents the products.
Thanks to a very free and available architectural inclined panels, the hearing could include
images and objects away with the same ease that cimacios of inclined planes. This had a
vertical and horizontal relationship between the graphical information and the objects
themselves.
unlike Le Corbusier whose art was exhibited during his lifetime in major galleries and museums,
Aalto has never been taken quite seriously as an artist. This
dismissal certainly has something to do with the fact that, while Le Corbusier can
be credited for launching an artistic movement, Purism, Aalto's references to art are less
formally specific. Furthermore, while Le Corbusier's paintings offer a key to his architecture,
Aalto's artistic production does not offer such direct correlation.
Many of his ideas were inspired by the country's classical architecture, especially during the
early part of his career.
The Montagne Sainte-Victoire is a mountain in southern France, overlooking Aix-en-Provence.
It became the subject of a number of Cézanne's paintings.
In these paintings, Cézanne often sketched the railway bridge on the Aix-Marseille line at the
Arc River Valley in the center on the right side of the picture. Especially, in Mont Sainte-Victoire
and the Viaduct of the Arc River Valley (1885-1887), he depicted a moving train on this bridge.
Starting at a shorter mound of compacted dirt rises a fence roughly woven together from long
sticks. A regularity arises as it lengthens and the sticks become more directional and linear,
until it merges with the wooden walls of the grass-roof sauna which continues on to form the
roof of a outdoor space and walkway.This same concept of a morphing technology continues
throughout the house, as materials shift form a stone to stone slab to glass and steel in the
winter garden room. From the front door to the inside of the house, the materiality of the floor
also changes as it becomes progressively more domestic and intimate, from stone to tiles to
timber boarding and rugs.
Church of the Three Crosses (Finnish: Kolmen Ristin kirkko; also known as Vuoksenniska Church)
is a Lutheran church located in Vuoksenniska, Imatra, Finland. The church was designed by
Alvar Aalto and completed in 1958. It is said to be Aalto's most original church design. The
church gets its name from the three crosses at the altar.[1]
The church consists of three consecutive halls which can be separated by sliding walls; this
enables parts of the church to be used for parish activities during the week. The exterior of the
church is white with a copper roofing
The Säynätsalo Town Hall is a multifunction building complex - town hall, shops, library and
flats - designed by Finnish architect Alvar Aalto for the municipality of Säynätsalo (merged with
the municipality of Jyväskylä in 1993) in Central Finland. Aalto received the commission after a
design contest in 1949, and the building was completed in December 1951.
The town hall is considered one of the most important buildings Aalto designed in his career
Built as part of the Interbau Exhibition rehabilitation program, in which Le Corbusier, Walter
Gropius, and Ludwig Mies van der Rohe also participated.
"The model apartment building in the Hansaviertel was built on the occasion of the Interbau
exhibition in Berlin. This design sought to combine as far as possible the advantages of the
private house with its own garden and those of the typical apartment house. Hence,
conventional narrow balconies were expanded to become outdoor patios around which the
rooms of each apartment were grouped. This 'intimate arrangement' gives the occupants the
advantage of a small garden combined with complete privacy."
— Karl Fleig. Alvar Aalto. p192

Alvar Aalto, National Pensions Institute
Finlandia House, Alvar Aalto
Aalto, Experimental House, Muuratsalo
Charles Eisen, frontispiece to Laugier's Essay on Architecture
Bob Stern, new residential colleges
Marcel Bruer, Becton Engineering and Applied
Sciences
Joseph Gandy, John Soane's Bank of England imagined as a
ruin
Church of St. Alexander, Warsaw
Kurt Tank, Flying Eye
German, Ju-87 Stuka over Warsaw, August 1944
Church of St. Augustine, Warsaw
German Brennkommando at work, Warsaw, 1944
Architecture Final Review
"The National Pensions Institute, by Aalto (competition 1948; completed 1956), occupies a
restricted triangular site in the northern part of the city. In it Aalto reintroduced red brick for
modern Finnish town architecture. The brick buildings, copper-trimmed, step up the slope and
enclose a raised courtyard. The canteen... exemplifies Aalto's decorative inventiveness; note the
metal ceiling panels containing heating units and the walls lined with rounded ceramic tiles—
invented by Aalto for this occasion and used by him in several buildings subsequently."
Finlandia Hall is one of the most iconic buildings designed by world-renowned Finnish
architect, Alvar Aalto, and was planned from the ground up for visitors and a wide range of
events. In addition to his overall vision for the building, Aalto designed many of its details, such
as the lights and door handles, creating something very unique in the process. The building
complements the surrounding park and forms an almost unbroken link with the local
landscape. The interior includes many typical Aalto features, such as asymmetrical forms and
natural materials and colours.
The most basic understanding of the house is it's courtyard scheme which focuses inwards on
the space while also directing careful views of the nearby Lake Paijanne. The walls of this
courtyard reflect the very nature of the experimental home, as there are more than fifty
different types of bricks which are arranged in various patterns. This allowed Aalto to test the
aesthetics of different arrangements while also monitoring how they reacted in the rough
climate. Testing concepts like foundation systems, free-form brick construction, and passive
solar heating, Aalto was comfortable exploring materiality because he only used the residence
part time. The interior of the house holds a raised loft area which was to function as a painting
studio. This is supported by large wooden beams which hold the space in tension.
Going back to the rustic hut. Must never lose sight of it.
Joseph Michael Gandy (1771-1843) was an English artist, visionary architect and architectural
theorist, most noted for his imaginative paintings depicting Sir John Soane's architectural
designs. He worked extensively with Soane both as draughtsman and creative partner from
1798 until 1809 when he (ultimately unsuccessfully) set up his own practice.
The church was established by the grateful citizens of Warsaw to commemorate the tsar
Alexander I of Russia,[1] who conferred the Constitution to the Kingdom of Poland. It was
constructed in the years 1818-25 in Neoclassical style. The foundation stone was laid on 15 June
1818 by Minister of State Treasury Jan Węgliński, replacing indisposed General Józef Zajączek,
Namestnik of the Kingdom of Poland.[1] The temple was consecrated on 18 June 1826 by
primate Wojciech Skarszewski and constructed on a circular ground plan covered by a dome,
often referred to as the rotunda. The inspiration for the external shape of the shrine was
Pantheon in Rome.[1] The main altar was adorned with oil painting by Franciszek Smuglewicz
depicting Crucifixion of Jesus.[1]
The Focke-Wulf Fw 189 Uhu ("Eagle Owl") was a German twin-engine, twin-boom, three-seat
tactical reconnaissance and army cooperation aircraft. It first flew in 1938 (Fw 189 V1), entered
service in 1940 and was produced until mid-1944. It should not be confused with the Heinkel
He 219 night fighter also named Uhu.
In addition, Focke-Wulf used this airframe in response to a tender request by the RLM for a
dedicated ground attack airplane, and later submitted an armored version for trials. However,
the Henschel Hs 129 was selected instead.
The Junkers Ju 87 or Stuka (from Sturzkampfflugzeug, "dive bomber") was a German dive
bomber and ground-attack aircraft designed by Hermann Pohlmann and first flew in 1935. The
Ju 87 made its combat debut in 1937 with the Luftwaffe's Condor Legion during the Spanish
Civil War. It served the Axis forces in World War II.
The church was built of red clinker brick with stone architectural details in brown-red and
beige. There are three naves, in a basilica enriched with a high turret in the north-east corner.
An elongated, closed choir is in the north-west. Flanking it are a couple of annexes with narrow
antechambers: the north vestry and the south chapel. The two-storey facade is flanked to the
left by a tower, and on the right by a chapel annex. Above the portico, resting on three
arcades, is a strip of six semi-circular niches.

Pabst Plan for Warsaw, the new German city
Albert Speer and Adolf Hitler -- the Nuremburg Trials
Albert Speer, German Pavilion, and Boris Iofan, Soviet
Pavilion, Paris World Fair, 1937
Albert Speer --> Plan for reconstruction
Albert Speer, Cathedral of Light at Zeppelinfeld, Nuremburg
Auschwitz Central Construction Directorate,
Warren-SS officers with building plans
Plans for a crematorium in Auschwitz
Auschwitz Death Camp Prisoner Barracks, Polland
German Highway System during WW2 and Cal-
Aero field with surplus planes
Albert Kahn, Chrysler Tank Arsenal, Warren, Michigan
Albert Kahn, Ford Motor Bomber Factory, Willow Run,
Michigan
Architecture Final Review
The Pabst Plan (German: Neue deutsche Stadt Warschau, "New German city of Warsaw") was a
Nazi German urban plan to reconstruct the city of Warsaw as a Nazi model city. Named after
its creator Friedrich Pabst,[1] the Nazis' "Chief Architect for Warsaw", who did not work on the
plan, the plan assumed that Warsaw, the historical capital of Poland and a city of 1.5 million
inhabitants, would be completely destroyed and rebuilt as a small German town of not more
than 130,000 inhabitants.
The Nuremberg trials (German: die Nürnberger Prozesse) were a series of military tribunals,
held by the Allied forces after World War II, which were most notable for the prosecution of
prominent members of the political, military, and economic leadership of Nazi Germany who
planned, carried out, or otherwise participated in The Holocaust and other war crimes. The
trials were held in the city of Nuremberg, Germany.
The architect of the Soviet pavilion was Boris Iofan. Vera Mukhina designed the large figurative
sculpture on the pavilion. The grand building was topped by Worker and Kolkhoz Woman, a
large momentum-exerting statue, of a male worker and a female peasant, their hands together,
thrusting a hammer and a sickle. The statue was meant to symbolize the union of workers and
peasants.[6] At the presentation, both Speer and Iofan, who also designed the Palace of
Soviets that was planned to be constructed in Moscow, were awarded gold medals for their
respective designs. Also, for his model of the Nuremberg party rally grounds, the jury granted
Speer, to his and Hitler's surprise, a Grand Prix.
The cathedral of light or Lichtdom was a main aesthetic feature of the Nazi Party rallies in
Nuremberg starting in 1933. Designed by architect Albert Speer, it consisted of 152 anti-aircraft
searchlights, at intervals of 12 metres, aimed skyward to create a series of vertical bars
surrounding the audience. The effect was a brilliant one, both from within the design and on
the outside. The cathedral of light was documented in the Nazi Propaganda film Festliches
Nürnberg, released in 1937.
Speer had been commissioned by Adolf Hitler to build a stadium for the annual party rallies,
but the stadium could not be completed in time for the 1933 rally. As a stopgap, he used 152
antiaircraft searchlights pointed upwards around the assembly area.[2][3]
Auschwitz Concentration Camp opened in former Polish army barracks in June 1940. Twenty
brick buildings were adapted, of which 6 were two-story and 14 were single-story. At the end
of 1940, prisoners began adding second stories to the single-story blocks. The following
spring, they started erecting 8 new blocks. This work reached completion in the first half of
1942. The result was a complex of 28 two-story blocks, the overwhelming majority of which
were used to house prisoners. As a rule, there were two large rooms upstairs and a number of
smaller rooms downstairs. The blocks were designed to hold about 700 prisoners each after
the second stories were added, but in practice they housed up to 1,200.
Detroit Arsenal (DTA), formerly Detroit Arsenal Tank Plant (DATP) was the first manufacturing
plant ever built for the mass production of tanks in the United States. Established in 1940 under
Chrysler, this plant was owned by the U.S. government until 1996. It was designed by architect
Albert Kahn. The building was designed originally as a "dual production facility, so that it could
make armaments and be turned into peaceful production at war's end.[1] Notwithstanding its
name, the 113-acre (0.46 km2) site was located in Warren, Michigan, Detroit's largest suburb.[2]
Chrysler's construction effort at the plant in 1941 was one of the fastest on record.[3] Indeed,
the first tanks rumbled out of the plant before its construction was finished.[4]
The Willow Run manufacturing complex, located between Ypsilanti and Belleville, Michigan,
was constructed in the early years of World War II by Ford Motor Company for the mass
production of war munitions, especially the B-24 Liberator heavy bomber.[1]

Albert Kahn, Office Organization Diagram
George Bergstrom, US War Department aka Pentagon
Map of Pentagon Road Network
Eero Saarinen, "Army Personnal Control"
Pamphlet
Charles and Ray Eames, Prototype for a Glider Nose of
Moulded Glue-Laminated Wood
Konrad Wittman, Industrial Camouflage Manual
Boeing Seattle Plant camouflaged in 1945
Eric Mandelsohn et. al German and Japanese
villages at the Dugway Proving Ground, Utah,
1943
Firebombing of Tokyo, March 9, 1945
London after the Blitz, 1940
Architecture Final Review
The firm had a staff of 300-400 people in the 1930s, including about 40 secretaries,
stenographers, typists, and file clerks. There were around 175 architectural designers and
draftsmen, 80-90 mechanical and electrical engineers, 40-50 field superintendents, and about
30 specification writers.[28] The chief administrator was Albert Kahn and his assistants were his
brothers Julius, Moritz and Louis.[29] The staff was increased to 600 people at the time of
World War II. The firm ramped up for war plants to make tanks and other war related
equipment.[30
The Pentagon was designed by American architect George Bergstrom (1876-1955), and built by
general contractor John McShain of Philadelphia. Ground was broken for construction on
September 11, 1941, and the building was dedicated on January 15, 1943. General Brehon
Somervell provided the major motive power behind the project;[4] Colonel Leslie Groves was
responsible for overseeing the project for the U.S. Army.
he 1943 design and construction of the 'blister' for "Study for a Glider Nose" by Charles and
Ray Eames represents an important and innovative contribution to the development of the
single-shell molded plywood chair. Charles & Ray Eames spent from 1940-1945 perfecting the
fabrication of molded plywood with compound curves. Through their home experiments and
commissions from the US Navy they began by designing molded plywood leg splints for
medical use. The splints were a success and other products they designed included a molded
plywood body litter and an arm splint. The litter and arm splint, however, were never mass-
produced. When the Eameses set out to construct a one-piece wooden section as large as the
'blister' it was regarded as a nearly impossible task.
On this day, U.S. warplanes launch a new bombing offensive against Japan, dropping 2,000
tons of incendiary bombs on Tokyo over the course of the next 48 hours. Almost 16 square
miles in and around the Japanese capital were incinerated, and between 80,000 and 130,000
Japanese civilians were killed in the worst single firestorm in recorded history.
The appearance of German bombers in the skies over London during the afternoon of
September 7, 1940 heralded a tactical shift in Hitler's attempt to subdue Great Britain. During
the previous two months, the Luftwaffe had targeted RAF airfields and radar stations for
destruction in preparation for the German invasion of the island. With invasion plans put on
hold and eventually scrapped, Hitler turned his attention to destroying London in an attempt
to demoralize the population and force the British to come to terms. At around 4:00 PM on that
September day, 348 German bombers escorted by 617 fighters
Sept. 7, 1940 - the beginning of the
London Blitz blasted London until 6:00 PM. Two hours later, guided by the fires set by the first
assault, a second group of raiders commenced another attack that lasted until 4:30 the
following morning.
This was the beginning of the Blitz - a period of intense bombing of London and other cities
that continued until the following May. For the next consecutive 57 days, London was bombed
either during the day or night. Fires consumed many portions of the city. Residents sought
shelter wherever they could find it - many fleeing to the Underground stations that sheltered as
many as 177,000 people during the night. In the worst single incident, 450 were killed when a
bomb destroyed a school being used as an air raid shelter. Londoners and the world were
introduced to a new weapon of terror and destruction in the arsenal of twentieth century
warfare. The Blitz ended on May 11, 1941 when Hitler called off the raids in order to move his
bombers east in preparation for Germany's invasion of Russia.

Rotterdam after the Blitz, 1940
European migration in the aftermath of WW2
Posters for The Marshall Plan, officially the Europe Recovery
Program
Countries Receiving Marshall Aid
Max Bill, WiederauVau [ReconstrucAon] (1945)
Buckminster Fuller, Dymaxion House, 1945
Buckminster Fuller, Autonomous Living Unit, 1949
Quonset Huts in military camps and post-war use
Ad for Lustron House
Architecture Final Review
The Rotterdam Blitz was the aerial bombardment of Rotterdam by the Luftwaffe (German air
force) on 14 May 1940, during the German invasion of the Netherlands in World War II. The
objective was to support the German troops fighting in the city, break Dutch resistance and
force the Dutch to surrender. Even though preceding negotiations resulted in a ceasefire, the
bombardment took place nonetheless, in conditions which remain controversial, and
destroyed almost the entire historic city centre, killing nearly 900 people and making 85,000
others homeless.
The Marshall Plan (officially the European Recovery Program, ERP) was an American initiative
to aid Western Europe, in which the United States gave $13 billion (approximately $130 billion
in current dollar value as of March 2016) in economic support to help rebuild Western
European economies after the end of World War II. The plan was in operation for four years
beginning April 8th 1948. The goals of the United States were to rebuild war-devastated
regions, remove trade barriers, modernize industry, make Europe prosperous again, and
prevent the spread of communism.[1] The Marshall Plan required a lessening of interstate
barriers, a dropping of many regulations, and encouraged an increase in productivity, labour
union membership, as well as the adoption of modern business procedures.[2]
Conceived and designed in the late 1920's but not actually built until 1945, the Dymaxion House
was Fuller's solution to the need for a mass-produced, affordable, easily transportable and
environmentally efficient house. The word "Dymaxion" was coined by combining parts of three
of Bucky's favorite words: DY (dynamic), MAX (maximum), and ION (tension). The house used
tension suspension from a central column or mast, sold for the price of a Cadillac, and could
be shipped worldwide in its own metal tube. Toward the end of WW II, Fuller attempted to
create a new industry for mass-producing Dymaxion Houses.
Bucky designed a home that was heated and cooled by natural means, that made its own
power, was earthquake and storm-proof, and made of permanent, engineered materials that
required no periodic painting, reroofing, or other maintenance. You could easily change the
floor plan as required - squeezing the bedrooms to make the living room bigger for a party,
for instance.
A Quonset hut /ˈkwɒnsᵻt/ is a lightweight prefabricated structure of corrugated galvanized
steel having a semicircular cross-section. Developed in the United States, the design was
based on the Nissen hut introduced by the British during World War I. Hundreds of thousands
were produced during World War II and military surplus was sold to the public. The name
comes from their site of first manufacture, Quonset Point, at the Davisville Naval Construction
Battalion Center in Davisville (a village located within the town of North Kingstown, Rhode
Island, U.S.).
Lustron houses are prefabricated enameled steel houses developed in the post-World War II
era United States in response to the shortage of houses for returning GIs. The low-
maintenance, extremely durable, baked-on porcelain enamel finish was expected to attract
modern families who might not have the time or interest in repairing and painting conventional
wood and plaster houses.

Patrick Abercrombie, Greater London Plan, 1941
Alvar Aalto, reconstruction plan
Rudolf Schwarz, "Of the redevelopment of the
land"
Hermann Hanselmann et al., Stalinallee
Various architects, Hansaviertal housing for
internationale Bauaustellung
IBA, Hansaveirtal Housing
Aalto, Hansaviertal apartment housing
Arne Jacobsen, Hansviertal patio houses
Berlin Wall Under Construction
Hans Scharoun, Berlin Philharmonic Orchestra
Architecture Final Review
The Greater London Plan of 1944 was developed by Sir Leslie Patrick Abercrombie (1879-1957).
The plan was directly related to the County of London Plan written by Abercrombie in 1943,
with contributions by John Henry Forshaw (1895-1973). Following World War II, London was
presented with an opportunity to amend the perceived failings of unplanned and haphazard
development that had occurred as a result of rapid industrialisation in the nineteenth century.
[1]
During the Second World War, the blitz had destroyed large urban areas throughout the entire
county of London, but particularly the central core. Over 50,000 inner London homes were
completely destroyed, while more than 2 million dwellings experienced some form of bomb
damage. This presented the London City Council with a unique chance to plan and rebuild
vacant tracts of the city on a scale not seen since the Great Fire of London.[2]
The plan was based around five main issues facing London at the time:
Population Growth
Housing
Employment and industry
Recreation
Transport
Henselmann was appointed head architect for the city of Berlin in 1953 and held various town
planning positions until his retirement. After Joseph Stalin's death and the rehabilitation of
Modernism, Henselmann returned to his earlier concerns, designing flagship buildings for East
Berlin such as the Haus des Lehrers (House of Teachers) and Congress Hall in Alexanderplatz
and the housing complex of Leninplatz (which was renamed Platz der Vereinten Nationen or
United Nations Square in 1992, and its large statue of Lenin removed). Plans for a 'Signal Tower'
drafted in 1958 became early drafts for the vast Fernsehturm, finished in 1969. Other late
projects in a modernist and high rise style included the cylindrical Jen-Tower in Jena and a
tower for the Leipzig University in the shape of an open book. Henselmann's later projects
gave a modern, technocratic face to the German Democratic Republic, akin to the skyscrapers
being built at the time in Frankfurt. He dismissed the brief period of Socialist Realism as a
'childhood illness', though his buildings on Karl-Marx-Allee are now protected monuments.
Henselmann retired as an architect in 1972.
Interbau was a housing development, constructed as part of the 1957 International Building
Exhibition (IBA '57) in the Hansaviertel area of West Berlin. The overall plan was managed by
Otto Banning, and the urban design competition was won by Gerhard Jobst and Willy Kreuer,
whose plans were later executed in a modified form.
Working within constraints of size, layout and cost, forty-eight architects designed a huge
range of accommodation, both low- and high-rise, with many permutations in plan.
From the architect. Hans Scharoun is a well known German architect best known for his design
of the Berlin Philharmonic concert hall in Berlin, Germany. Completed in 1963, Scharoun's
organic and futuristic aesthetic interpretation for the concert was a replacement for the
previous Philharmonic that was destroyed in WWII.
Scharoun's design was fairly straightforward that focused on placing music at the center of his
design, both conceptually and physically. From the center, the music would be amplified and
filtered throughout the auditorium.
 The Palast der Republik (Palace of the Republic) in East Berlin's centre is being demolished
while I am writing this text. The Palast was one of East Germany's most significant architectural
Heinz Graffunder and Karl-Ernst Swora, Palast der Republik,
projects. Its design history, its very short use and the discussion about its future reflect like no
East Berlin
other building in the country the currents of East German politics. But the Palast's fate also
sheds light on attitudes of the reunified Germany towards the former GDR.

Demolition of Palast der Republik

Following reunification a long-running debate commenced as to whether the palace should be

reconstructed, and whether this should be in part or whole. Pro-reconstruction lobby groups
argued that the rebuilding of the Stadtschloss would restore the unity and integrity of the
historical centre of Berlin, which includes the Berliner Dom, the Lustgarten and the museums of
Museum Island. Opponents of the project included those who advocated the retention of the
Palast der Republik on the grounds that it was itself of historical significance; those who argued
Stadtschloss reconstruction that the area should become a public park; and those who believed that a new building would
be a pastiche of former architectural styles; would be an unwelcome symbol of Germany's
imperial past; and would be unacceptably expensive for no definite economic benefit. They
also argued that it would be impossible to accurately reconstruct the exterior or interiors of
the building, since neither detailed plans nor the necessary craft skills are available. Others
disputed this, claiming that sufficient photographic documentation of both existed when it was
converted to a museum following 1918.

Mockup for new residential colleges near

Science Park

Monuments are human landmarks which men have

created as symbols for their ideals, for their aims, and for
their actions. They are intended to outlive the period
which originated them, and constitute a heritage for
future generations. As such, they form a link between the
past and the future.
2. Monuments are the expression of manʹs highest cultural
needs. They have to satisfy the eternal demand of the
Geidon, leger and stert people for translation of their collective force into
symbols . . .
3. Every bygone period which shaped a real cultural life had
the power and the capacity to create these symbols.
Monuments are, therefore, only possible in periods in
which a unifying consciousness and unifying culture exists
...
4. The last hundred years have witnessed the devaluation of
monumentality.

The Volkshalle ("People's Hall"), also called Große Halle ("Great Hall") or Ruhmeshalle ("Hall of
Glory"), was a huge domed monumental building planned by Adolf Hitler and his architect
Albert Speer for Germania in Berlin. The project was never realized.

The word Volk had a particular resonance in Nazi thinking. The term völkisch movement, which
Albert Speer, Volkshalle Project, Berlin
can be translated to English as "the people's movement" or "the folkish movement", derives
from Volk but also implies a particularly racial undertone. Before the First World War, völkisch
thought had developed an attitude to the arts as the German Volk; that is, from an organically
linked Aryan or Nordic community (Volksgemeinschaft), racially unpolluted and with its roots in
the German soil of the Heimat (homeland).

Speer designed the German Pavilion for the 1937 international exposition in Paris. The German
and Soviet pavilion sites were opposite each other. On learning (through a clandestine look at
the Soviet plans) that the Soviet design included two colossal figures seemingly about to
German Pavilion, Albert Speer overrun the German site, Speer modified his design to include a cubic mass which would check
their advance, with a huge eagle on top looking down on the Soviet figures.[33] Speer
received, from Hitler Youth leader and later fellow Spandau prisoner Baldur von Schirach, the
Golden Hitler Youth Honor Badge with oak leaves.[34]

In search of a New Monumentality symposium,

London

Architecture Final Review


Le Corbusier, Notre Dame du Haut, Ronchamp, France
Le Corbusier, Chandigarh, India: General Plan
Kultuforum, Berlin
Hans Scharoun, Berlin Philharmonic
Ludwig Mies van der Rohe, Neue Nationalgalerie, Berlin,
1962-68
Hans Scharoun, Staatsbibliothek, Berlin (1967-78)
Wallace Harrison et al., UN Headquarters, New York City,
1949-62
Mural by Peter Krogh in the UN Security Council Chamber
Architecture Final Review
The chapel of Notre Dame du Haut in Ronchamp (French: Chapelle Notre-Dame-du-Haut de
Ronchamp), completed in 1954, is one of the finest examples of the architecture of Franco-
Swiss architect Le Corbusier and one of the most important examples of twentieth-century
religious architecture. The chapel is a working religious building and is under the guardianship
of the private foundation Association de l'Oeuvre de Notre-Dame du Haut.[2] It attracts 80,000
visitors each year.[2]
The city of Chandigarh was one of the early planned cities in the post-independence India and
is known internationally for its architecture and urban design.[7] The master plan of the city was
prepared by Swiss-French architect Le Corbusier, transformed from earlier plans created by
the Polish architect Maciej Nowicki and the American planner Albert Mayer. Most of the
government buildings and housing in the city, however, were designed by the Chandigarh
Capital Project Team headed by Pierre Jeanneret, Jane Drew and Maxwell Fry. In 2015, an
article published by BBC named Chandigarh as one of the perfect cities of the world in terms
of architecture, cultural growth and modernisation.[8][9]
The Berlin Kulturforum, with its museums, concert halls, libraries and institutes, is one of the
most important cultural sites of Germany. Many well-known and unique institutions are located
here, including the New National Gallery, designed by architect Mies van der Rohe, and the
Philharmonie and Chamber Music Hall - home of the famous Berlin Philharmonic Orchestra, as
well as the Neue Staatsbibliothek (Berlin State Library) with its sensational reading room and,
last but not least, the Gemäldegalerie, which has one of the most important collections of old
masters worldwide.
AD Classics: Berlin Philharmonic / Hans Scharoun© Photographs of Architecture©
Photographs of Architecture© Photographs of Architecture
+18
From the architect. Hans Scharoun is a well known German architect best known for his design
of the Berlin Philharmonic concert hall in Berlin, Germany. Completed in 1963, Scharoun's
organic and futuristic aesthetic interpretation for the concert was a replacement for the
previous Philharmonic that was destroyed in WWII.
The Neue Nationalgalerie (New National Gallery) at the Kulturforum is a museum for modern
art in Berlin, with its main focus on the early 20th century. It is part of the National Gallery of
the Berlin State Museums. The museum building and its sculpture gardens were designed by
Ludwig Mies van der Rohe and opened in 1968.[1]
The National Library of Staatsbibliothek Berlin, designed by architect Hans Scharoun and
Edgar Wisniewski, is probably the most famous modern library, next to the Phillips Exeter
Academy Library , Louis Kahn. It is part of a complex of cultural buildings in Berlin called
Kulturforum. Presents a language familiar to the Berlin Philharmonic, also Schauroun work, as
opposed to international style exhibited by the Neue Nationalgalerie of Mies van der Rohe.
The three buildings comprising the Kulturforum.
It is one of the organs of the Prussian Cultural Heritage Foundation. It was created in 1967 to
house some of the books from the Staatsbibliothek who had moved to Berlin during the war to
prevent the bombing, and by chance ended up in one of the Western occupation zones after
the war. The other part, about half of all books, ended up in the Soviet zone and was relocated
in the original building of the Avenue Unter den Linden, east of the city. This means that the
library collection is fragmented into two physical locations called Headquarters 1 (the old
building) and Seat 2 (Scharoun's work), a mile away in a straight line, but at the time was divided
by the Wall.
In 1947, the UN commissioned Wallace K. Harrison to lead the international design team to
create their new world headquarters to be a symbol of the bright, peaceful future ahead that
did not dwell upon the past.
Although the United Nations is not legally bound by the United States borders, government, or
its law, even before its decided location, there was heavy opposition from European nations
for even considering the United States a possible location for the organizations headquarters.
However, the United Nations considered several locations that were geographically accessible
for all nations to come together peacefully and with ease.
Per Lasson Krohg (18 June 1889 - 3 March 1965) was a Norwegian artist. He is most frequently
associated with the mural he created for the United Nations Security Council Chamber, located
in the United Nations building in New York City.[1]

Marcel Breuer with Pier Luigi Nervi and Bernhard Zehrfuss,
UNESCO Headquarters, Paris, 1969-74; at right, advisory
committee
Marcel Breuer, Armstrong Rubber / Pirelli Tire, New Haven,
1970
(20 slides) --> Elihu Rubin
(slide 21)
Huerfano Valley Community, Colorado
Buckminster Fuller, Dymaxion House
Buckminster Fuller, Dymaxion Deployment Unit
Buckminster Fuller, Wichita Dwelling Machine, Kansas
Architecture Final Review
Inaugurated on 3 November 1958, the Headquarters of UNESCO is the most international
building in Paris both in terms of the membership of the Organization it houses, currently
standing at 186 Member States (1 July 1997) and in terms of its construction, for it is the
combined work of architects of three nationalities : Marcel Breuer of the United States of
America, Pier Luigi Nervi of Italy and Bernard Zehrfuss of France ; selected by an International
Committee of five : Lucio Costa of Brazil, Walter Gropius of the United States of America,
Charles Le Corbusier of France, Sven Markelius of Sweden and Ernesto Rogers of Italy ; the
American architect, Eero Saarinen was also consulted and Eugene E. Callison, an American
engineer directed the construction site. The Y=shaped administrative building, nicknamed the
"three-pointed star", fits harmoniously in Place de Fontenoy alongside the Ecole Militaire.
Original Brief:
commission brief:
In 1966, VP Joseph Stewart approached New Haven mayor, Richard Lee, about purchasing
what was viewed as a "pivotal" piece of land in the Long Wharf Redevelopment Area. The site,
as it occupied an important tract of land at the intersection of Interstates 91 and 95, would
mark the gateway to New Haven. Thus, Mayor Lee was much concerned over the choice of
architect. He insisted that anything built on the site should have an architectural presence and
be built by a master.
The Armstrong Rubber Company's program requirements were as follows: two or three floors
of administrative office space, assumed by Armstrong Rubber Co. to be placed near the
turnpike, and a one or two story high-ceiling space for the research and development
laboratories to be relocated to New Haven from West Haven.
ABOUT FULLER
DYMAXION HOUSE
J. Baldwin
Conceived and designed in the late 1920's but not actually built until 1945, the Dymaxion House
was Fuller's solution to the need for a mass-produced, affordable, easily transportable and
environmentally efficient house. The word "Dymaxion" was coined by combining parts of three
of Bucky's favorite words: DY (dynamic), MAX (maximum), and ION (tension). The house used
tension suspension from a central column or mast, sold for the price of a Cadillac, and could
be shipped worldwide in its own metal tube. Toward the end of WW II, Fuller attempted to
create a new industry for mass-producing Dymaxion Houses.
Bucky designed a home that was heated and cooled by natural means, that made its own
power, was earthquake and storm-proof, and made of permanent, engineered materials that
required no periodic painting, reroofing, or other maintenance. You could easily change the
floor plan as required - squeezing the bedrooms to make the living room bigger for a party,
for instance.
A Dymaxion deployment unit (DDU) is a structure designed in 1940 by Buckminster Fuller
consisting of a 20-foot circular hut constructed of corrugated steel looking much like a yurt or
the top of a metal silo.[1] The interior was insulated, finished with wallboard, port holes and a
door. The dome-like ceiling has a hole in the top and a cap for ventilation.
The Wichita House was a project Fuller accepted during World War II as an attempt to produce
cost-effective dwellings for everyone. The project continued to develop the technological
concept of the Dymaxion House, now incorporating a round floor plan instead of a hexagonal
one. The reactions to the prototype were extraordinarily positive; nevertheless it was not
produced industrially.[8] Fuller, a consummate perfectionist, felt he could improve the design
and was dissatisfied with the prototype. He refused to begin production rather than allowing
the "unfinished" design to be used.[9]
 The Wichita House was a project Fuller accepted during World War II as an attempt to produce
cost-effective dwellings for everyone. The project continued to develop the technological
concept of the Dymaxion House, now incorporating a round floor plan instead of a hexagonal
Wichita Dwelling Machine one. The reactions to the prototype were extraordinarily positive; nevertheless it was not
produced industrially.[8] Fuller, a consummate perfectionist, felt he could improve the design
and was dissatisfied with the prototype. He refused to begin production rather than allowing
the "unfinished" design to be used.[9]