outigs HRERAMS BT C9] As + H+ sete SEAR + WE weet OAR shameGR HEF 035 5 WF, 01-96-1393 BBERAA (CIP) ie URSA AEIEMG/ GD Fe Clark, R. HL), (WA Pause, M.) His ACME. abe: ABOUT MLHINEAE. 1997.4 ISBN 7-112-03095-1 1. th 1. OR Dike Oe . TU-88 + RA HULA 45 CIP RARE (97) 9 01950 5 Copytigh ©1998 by Van Nostand Reto ICD PBA ee tirana Thonn tating ‘The ITP logo ita ragstoed trademark under licence [Al rlghts reserved. No part of he work covered by the copyright aceon may bere Produced or used in any form or by any means-graphic, electronic. or mechatcal, inclusing photocopying. reccring. taping. o information storage and retieva sys tes.without the writen permission of the publisher Precedents in Architecture 2nd ed. / Roger H. Clark, Michael Pause ABO SALES VNR HL EARL Ae AE EPL. “ad LOLS So, MITE, Seed ALAA. ANH, EM 100 fet AEA RMR IOH 400 eh ROC ON RIA TN. ARNON TAMRON ESR L, ART —hentt. —SOH RAG HOLM. FRI RACAL. Mat Re OTS AL ‘es UNH a SEH RE RAF Rly. AEREDURINONORAZ I. RAISON ROR TA. eo T— Asem RM ETS te VIL RRS CoE TAO ARNT ‘ASO HL. PURI BIRE A AN LIT. AER Hem HE ARRAS EB (28) Bas He sete, HEBER + BEM wei PRR e mic. AT eR Ree eM cee ee aL | Fes 880% 1280 AA L/L OIE 19% FB: 505 FH 007 ARM 1807 A ARAL Eth) 85.0078 ISBN 7-112-03095.1 TU 2382 (3220 KORA BE TE ACE, ra daa 100037)To Judy and Kathy We RakesDE RATE AS SE HN AAS AE I RY ee ee See eee FR RATT Ah. RT MCLG I A AS A ARE FBR IE Sep Am MERLIN Ech. FRITH ARSE ALAS A 4 SURE BEL. PRATT A RL IY RE TH eS A FOO. eH RM ALA FE AH a “CET RE 0 RT ee ee ec PATRIA RAO A SO. CGI. TR MAREE AAO SE Ay PNR. SR A A RA ce MH OTE LM ZH, FDL AAR TRE eH A APR. TAMARA. HERIOT. FAR mE ROPE ATL Hed. RITOTA ARE Vee AON AUTEUR RIE RLM MH Sea). FARR AL IRIN ACER SLAG OTR DD» OR SEMIS RE HE RB AOE APMC ATK. Tans. AR tee RUA AH RAG MEE RIE TA TNH 5 Ad A SL AUTEM FR EN EURO ST PITS SPT Fa A AF AL TE Ir BRAS eT URN A A RIA BO ORE HERE. A PA am Ul EE SLRS AG mL FR A A OR ASE TBS ACLS Ee. 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YF AS He A FI LE A EM Aft BRN te ie 3a. ALATA cb OTERO WES. RIFT AO HEI ER aR, ANNES LDN Eek. COIR ICR IA MY AE APN OK Do es DAR RR BG Ga RS REA TS eB OS TE eRe. Bee RIA AST IH A A PO RER. FRAN CE RIAL AO Te ao GE Hy ROR ARP AL FEA NB. “EAL RT eA Re ROT AAR TS SEA HATA ACAI. SMO Ove AA ANY. NAT ENR ARENAS AE. AMELIE RL eRe ATTA BL Sete 7 AER OLIN FEL ICT MEINE 16 CARLIN SE. HEF “e ‘FB. SA ME by eA A A AARC CAR RRM BR. TAY RM EN — REIS AMELIA FMA. HEAL APH A TAS BR AR A IS A CA A. 9 1 9 a a= a eA PY FRATTON Re CAL AES. HER A I SE 25. FMM 7 TAR LIMOU HEAR A519 AT he 2 A AS A — i a A AEF (EAI EA ARIE HT EI TEE I — a AR 5 COLAO. EARL. a ECARD. SRR. BRING SEUNG M HR A IP ay SEI gS ED, RATS FSS AP A A BA SSL 0 a PL I NA WR A 2, HAT wr Arn RIB EATT ECA HOE Ke TER EO FAT ROO BIO ALEK. BLK ae GB Hy A 9 NEF HAIR ROI MS Se ETT RUIN AES AUTH ERERABNY. VIN HAS 2S Ay SLE BE ME SR TOPE de MD TRATES ETE. Be ta SBA AE AT 3 9 ee Ww AE wei IIE Ay SUCHE RIS MEE ACI. FRAT abi = yess AR MR Aaa AER eR A MARRS TWEE. VINR ARRAS AO EAA BIE ET RRL DAS PLEO HT EASA. PU © Le = REAR MES + Mm FUSE + USELESS RII. AE. BAR = AE A > Me AHEM TR Ts Hemi MERE. AIT LIP BE AY TE A OL ELF BRA A Bh. ARAN ewes. ESRI ABCA HELA, Be = REL A AR AUSOERAE. ASAE MHUGE Cs. SBA YE RIE FREER BAT RRA ec Me ABA RE MCT ERA DITTO TRIM ROT ERR. IRA. 5A As tn A FRH RR BER: aPREFACE TO THE FIRST EDITION This book is about architecture. In particular, it focuses on a way of thinking about archi- tecture that emphasizes what is in essence the same, rather than different. Our concern is for a continuous tradition that makes the past part of the present. We do not wish to aid the repitition or revival of style whether in whole or part. Rather, by a conscious sense of precedent that identifies patterns and themes, we hope to pursue archetypal ideas that might aid in the generation of architectural form. While architecture embodies many realms, we concen- trate on built form. Without apology, we make no attempt to discuss the social, political, economic, or technical aspects of architecture. The domain of design ideas lies within the formal and spatial realm of architecture, and thus it is this arena that is explored in this book. Obviously, a sound architectural idea will not, as a tool for design, inevitably lead to a good design. One can imagine many undesirable buildings which might originate with for- mative ideas, To be sensitive to the potential of archetypal pattern in design does not lessen the importance of con- cern for other issues or for the building itself. However, one commonality shared by the great buildings of this era with those of the past, is a demonstrated understanding of basic architectural ideas which are recognizable as formative pat- tems. Our analysis and interpretations are of built form, and therefore, may not necessarily coincide with the architect's intentions or the interpretations of others. The analysis is not all-inclusive in that it is limited to characteristics which can be diagrammed, ‘The intentions of this study are to assist the understand- “PREFACES ing of architectural history, to examine basic similarities of architects’ designs over time, to identify generic solutions to design problems which transcend time, and to develop analysis as a tool for design. Of importance is the develop- ment of a vehicle for the discussion of ideas through the use of example. The understanding of history derived from this kind of investigation can only be obtained by far greater labor than that involved in acquiring a knowledge of history that focuses on names and dates. The reward for this effort is a design vocabulary that has evolved and been tested over time, We believe designers benefit from a comprehensive understanding of formative ideas, organizational concepts, and partis. [As a resource, this book offers factual graphic informa: tion on 64 buildings, a detailed analysis of each of these buildings, a range of designs by individual architects, a com pilation of formative ideas for design generation, a collec- tion of architectural images, and a reference for a technique of analysis. Some of this information is not readily available in other sources. We are indebted to the Graham Foundation for Ad- vanced Studies in the Fine Arts for support to make this study possible. Any effort of this nature is the fruit of many encounters with individuals and ideas, but one debt in particular stands ut as significant. Through a series of conversations with George E. Hartman, Jr. several years ago, some of our thoughts and ideas about architecture and history were fo- cused, Since that time, he has continuously and enthusiasti- cally offered support and encouragement. James L. Nagel, Ludwig Glaser, William N. Morgan, and the late William Caudill each’ generously sponsored our efforts to secure assistance from the Graham Foundation. RogerCannon, Robert Humenn, and Debbie Buffalin provided valuable help in locating material and information, For their assistance and support we thank several persons in the School of Design: Dean Claude B. McKinney, Winifred Hodge, the secretaries, and the librarians, The students in our classes have enriched, stimulated, and challenged our ideas, and encouraged us to record them in this volume. We fully acknowledge our debt to them. ‘A special acknowledgment is reserved for Rebecca H. Mentz and Michael A. Nieminen, whose considerable talents were used to draw the sheets reproduced in this volume. Without their skill, patience, diligence, and dedication this volume would not have been possible. Our gratitude is extended to our families who have aided our efforts through sacrifice, devotion, and understanding, To all other persons who have encouraged or in some way contributed to this study we collectively give thanks. By making available the Information that is presented in this volume, we hope to expand the understanding of prece. dents in architecture; to illustrate an educational technique that is useful to students, educators, and practitioners; and to demonstrate an analytic technique that can have impact on architectural form and space decisions. PREFACE TO THE SECOND EDITION ‘The success of the first edition indicated that there was a need for conceptual and analytic information about archi- tecture. Our experience with the first edition over the past decade demonstrated that the material has been useful as a tool for teaching architecture. It has provided a vocabulary for analysis that helps students and architects understand, the works of others and aids them in creating their own de- signs. This approach continues to be useful and there was no apparent need to revise the information. Instead, the sec- ond edition gave us the opportunity to enrich the content of 8 the analysis section by adding the works of seven architects, ‘They were chosen initially to augment the content of the original sixteen architects. Some were selected for historical significance, some for lack of widespread documentation of their work. Others were picked because of emerging reputa- tions and the production of a meaningful body of work since the publication of the first edition. Ail were selected be- cause of the strength, quality, and interest of their designs. It is our intent to continue to show that design ideas transcend culture and time. Keeping the same format, we have added factual and analytic information on two or four buildings by each of the seven new architects. While some may find this book useful for information about a particular architect or building, it is not our primary Purpose to present any one building or architect exhaus- tively (e.g., photographs, written descriptions, or contract documents). Rather, our intention is to continue to explore the commonality of design ideas through comparison. To achieve this we have used the diagrammatic technique that was developed in the original study. While some of the ar- chitects and architectural authors have used diagrams to ex- plain or inform others about the buildings included in this Volume, the diagrams in this book are our own creation, In addition to the acknowledgments cited in the preface of the first edition the following have helped make this edi- tion a reality. The Graham Foundation for Advanced Studies in the Fine Arts supported our work for a second time; for this we are grateful. Van Nostrand Reinhold also contributed Brant money to make this edition possible. Both of these sources aided our research and allowed for the production of the drawings. While difficult to acknowledge all individuals who have contributed to or influenced our ideas, certain people's ef forts deserve recognition. We are indebted to Wendy Lochner for persuading us to attempt a second edition. Her support and encouragemeut were critical. The editorial staff at Van Nostrand Reinhold provided us with willing and valuable assistance. James L. Nagle, Victor Reigner, and Mark ‘Simon supported our efforts through encouragement, sug- gestions, and recommendations. Peter Bohlin and Carole Rusche generously contributed valuable information on the works of some of the architects. Collectively, we thank the staff of the School of Design for their wiling assistance. Special recognition goes to Mara Murdoch who single- handedly, with great skill, dedication, and patience drew all of the new pages. Finally we wish to acknowledge all of our students who have shown us that the study of precedents is a valuable tool for learning to design, and who continue to challenge us. Roger H. Clark and Michael Pausea A A ke a A 3 AN I IA "CEES RP AC M0) — REP UIA eH} 2 A FLA Ae 5 ee He 8 EI, WES, RMIT. ARR TE UVLO AE CLO INA A. AYR AO ETN. ARTE ARIE A 2 Re 8 IL he PL BO CB = FR TE eG hs LAB a AA ESET» RA eA AC a AASB Hy TSR — A A OH LRG. APACS ALE A A GE FUSE OE. PRATT ARO DOM RR SRE TE BL. JRRR ALITA HE. ARASH PURB SPSL OB RBM RE 83 NAEP AC BL eA i = ARE RY TE + ELIE AI EMCO A. RIT AT LAR RI CEE ARE FSS FAT A FE PRIA RMIT hms. — ae Ek es RITE HA RAAT T CLM RHA AR oN 7 POAT Ee Ay a a A A AE Pas ARR FRR RIR AY BERR LETT ESTO CER OL I LATED TRE. FRAO AMOR ARES REFERER RH ROG Hh A eA RB AH a FU Pe PD ELA SRE a esata. SOP RAE AEN MOR. SR FT PREM BE CE Er LE TT ENB. GK A ILA HE LY. FRACS 15 Pr BORE TH TNs 4 EL. SH I RH t SE + MACE EG FOS. BALL. He RSL WA A a I ORE AE AAP RAR. BIS. ABR + HESS I Ms FRE EH ‘RR AE BOHR A I HE I SLAIN ARITA FRA OG A CRT TIT Aiba ee SEF AGERE ALG ELIS ATA VARS HP SRP AE DIVES AROS aA EE Se FA. BRE FEA ASNT EAS HE RIL ARO. EE RO MCSE HEE FOL cee — I RRA PARE. le EL LN. OAT OR FI HY — ERNE (Ol, aT AH EE eT HE SANT Ae RRO. RPE TE (OE FEAR. LAR Ae HES) JR EAS AAR. AM. TUNA. AB A A PUFA A. LN RAR + MARA TE AULA EP SILA PTY + RA He ff OR FETA LEARN AB SR FE QT — SRL EO SF RL RTT SA HR, BREA AG Ac AARON SA AR ASTD BU BOF 9 A RTA RP HL A AG aT A A AS TE HO $17 — FE. SA A Ie PE. Ry TR RR Ls A ACE A AT IR TE iy SB» BEEF TE GE «SC TR SS. NAGASE AFL + Um a5 PAIR, IONE ET A TCH. SAM ERLE = (a OE A OE ACH EAT nrab BAF eS A AIR. ATLA ty PORCELAIN. Em SE TSA MORE HOS A A AeA. TOSSES BE le — a a AT OT PRIME LER. — REI. Ce NR ON PS We TEL. 9 T MELO Om. TE AHR eo FU. em FO om «TBE 9 RYH A LL 12 WERE. CH 19 AS HR SPE SO BER PR. IEA RE LEAD. EO OD. ewe LA OM FT A ORG SE SP EPR BR UTE ah ae SUS HS A. I et ROOM SES SOM ERMME ROAR 109. ASHI LT RES — ARS. (REAR RR RT SEES.‘The renewed and growing interest in architectural history and historic architectural example has focused the need to clarify the link between history and design. History studied in the academic sense of seeing our place within a contin. uum, or in the strictly scholarly sense of knowing the past, can limit our knowledge as architects to little more than names, dates, and style recognition. Seeing between and be- yond the layers of historical styles, within which archicec- ture is generally categorized and presented, can make his tory a source of enrichment for architectural design. ‘The search, in this study, is for theory which transcends ‘the moment and reveals an architectural idea. The technique for this search is the careful examination and analysis of buildings. The desired result is the development of theory to generate ideas with which to design architecture. This volume is organized into two parts. The first con- centrates on the analysis of 88 buildings which are pre- sented in both conventional drawings—site plan, plan, and elevation—and diagrams. The second identifies ‘and delin- eates formal archetypal patterns or formative ideas from which architecture might evolve. It can be observed that cer- tain patterns persist through time, with no apparent relation- ship to place. Buildings that represent a range of time, function, and style, and architects who exemplify seemingly different ap- roaches to architecture, were selected. This selection was tempered by availability of information; some architects and some buildings were not included because the material available did not permit thorough analysis. Preference was given to built buildings in lieu of pro- Jects which are included in the second part only when they represent pertinent examples of an idea. While the analytic technique utilized in this volume is applicable to groups of NTRODUCTION duildings, this study is limited to single works of architec- ture, ‘The information available for the selected buildings con- tained inconsistencies in some areas, When discrepancies did occur, every effort was made to verify the accuracy of the information. If it could not be totally verified, then rea. sonable assumptions were made, For example, a site plan was never drawn by Robert Venturi for the Tucker House; therefore, the site plan indicated in this volume is inferred from other information, In some instances, particular buildings are cited in the literature by more than one name. For example, La Rotonda by Andrea Palladio is often referred to as Villa Capra, Less frequently it is called Villa Almerico, after the name of the family for whom it was originally built. In cases where such multiplicity occurs, buildings are identified in the body of this study by the most frequently used name, and in the index by the several names utilized. Opinion also differs about dates attributed to several buildings. Because of the length of time it takes to complete building or because of the imprecision of recorded history, itis often difficult to establish a date or a series of dates that are exact for a building. The importance of the date is to place the work in a chronological context. When conflict did occur between sources, the date that is ascribed most often, is the one used Undoubtedly, the complexity of architecture often makes it difficult to attribute the work of a building to a single per- son. It is clear that buildings, regardless of when executed, are the products of partnerships or collaborations, and are the result of inputs from several persons. However, for the sake of clarity, the buildings in this study are assigned to the person who is normally recognized as the designer. For in- tastance, Charles Moore is listed rather than the several asso- lations which might be included for each building. Simi larly, Romaldo Gjurgola is acknowledged instead of the firm sin which he is a partner. In the analysis part of the study, the plan, elevation, and section for any individual building are drawn at the same scale, However, the scale between any two buildings varies depending upon building size and presentation format. Site plans are oriented to correspond generally to the orientation ‘of the floor plan, and north is indicated where known. To communicate the analysis of the buildings and the formative ideas in this study, a diagram or a set of diagrams is utilized. The diagrams are drawings that, as abstractions, are intended to convey essential characteristics and rela tionships in a building. As such, the diagcams focus on spe- cific physical attributes which allow for the comparison of that attribute between buildings independent of style, type, function, or time. The diagrams are developed from the threedimensional form and space configurations of the building. They take into account more information than is normally apparent in a plan, and elevation, or a section. In u order to reduce the building to its essentials, the diagrams have been intentionally simplified. This elimination of all but the most importani considerations makes those that re- main both dominant and memorable. For the analysis, it was necessary to establish a graphic standard so comparison could be made between the dia grams, In general, heavy lines are used on each diagram to accent the issue. In the formative idea part of the study, the plan, elevation, or section of the building is drawn lightly for orientation purposes, while the issue being analyzed and compared is indicated by heavy line or shading. The legend ‘on page 15 indicates the specific graphic standard used on the diagrams in the analysis section, ‘This study is not exhaustive; rather, examples, are in- cluded to illustrate the nuances of the idea, It is rare to find a building configuration which embodies a single formal theme in absolute purity. More normal is a variety of pat- tems layered upon one anather—the consequence of which is the potential for richness that can evolve fro multiple in- terpretations. In this study dominant patterns have been identified, but this is not to suggest that others do not exist.LEGEND. ‘Srna SRE] ‘Matéewy ASAE] —— ws "ee enn coeer 8 Ts HE men EOE some Me St over EOS a Aer, Seo tke Te TERE ER HRAER Comronmnry 6} wae mcm 19 nin remmmeroowe atEsUety | sme aaALce ERT be Se ma Soe omer Senn sme ERE expan 3 bar tea a NT rover tHe] wom, 20 ener woe 8 eae CR me She eax =H78 RECTANGLE wikiie oe nae BRB REE eno mene saan AEA sa ge na ta wan ° cnmoves HER er . —— ea van ons #78 . o “seoonDaRy, rewainpnn Feat PADS CENTER v ESS orem, "Bt Sime Bhan HERE] es ven Hee naaiek se nitecad HL = MAE + MERE RE 14 PREETI 142 a BEM + BAI 150 ABM = HEALIE. 158 BRAGA + EMT JL aw 166 om : 5 effete + cre seen 174 BCG + BACHE “ PSE + Ty RAM AM» 12 Felis sossees seen 22 MLSE + OCEANA + BLE 26 Ret sz RAL + fH oo aa Tome + Wz Ft 2 ke» 215 TRIBE + 45 EWI ~ 50 AOE Sa 58 AL IA BORE + IRI» 62 ‘mee JARO + RESORT 70 UAE ae BEI 1 Benen - 78 JUSTE. B+ FEAT BOE oor seece eee 86 Test, SERIE + Fart = NUH on ide sal OEM 102 ais BEE m + ZENE - 110 BERN + MOR ns ROLIO SI POPUL = HOAPrefaces Introduction Analysis /9 Alvar Aalto / 14 ‘Tadao Ando / 22 Erik Gunnar Asplund / 26, Peter Q. Bohlin / 34 Mario Botta /42, Filippo Brunelleschi /50 Sverre Fehn / 58 Romaldo Giurgola /62 Nicholas Hawksmoor / 70 Louis I. Kahn / 78, Le Corbusier /86 Claude Nicholas Ledoux / 94 Edwin Lutyens / 102 Richard Meter / 110 Charles Moore / 118, Andrea Palladio / 126 18 CONTENTS Henry Hobson Richardson / 134 James Stirling /142 Louis Sullivan / 150 Giuseppe Terragni / 158 Ludwig Mies Van Der Rohe / 166 Rotert Venturi / 174 Frank Lloyd Wright / 182 Formative Ideas / 202 Plan to Section or Elevation / 215 Unit to Whole / 222 Repetitive to Unique / 229 Additive and Subtractive / 235 ‘Symmetry and Balance / 237 Geometry / 243, Configuration Patterns / 257 Progressions / 267 Reduction / 271 Index /283 oeFURR + BRE Thao, RP RRC LMM Re. OHI BRA RBA MLA. Ab Sees, DARIEN ame AHH Lwe ae Ae. 3b SMe + AAR «AERO WR. FARA TAAL nt TE IR INIA SLT BE SER IM MT RMR. AE AO - tmBK SRLS = Q + PPR. PURER AS MANOR. PEER ask OB RENAE. HALEN MNES) meee. MesMLem am. me SaeEES. eh TH TIT «SNe. RE Hest. REAR DUIEAE - MRS MUR. ere TAR: MAMI ERM. IC TILDE. DERE SESS MEA MOT. HOEK EMT FE MERE. ee Hoe Sr: mB euxrsesum. sere Bo eI. aOR SS BORS - RRR BAAS AFI «ATARI SRR MMI RMR AB. HEN ME PLM AAR SEER ASE WERE T Fe ray - mE PORT = PA NBUTTS. atte HARES BAM. OF eee. MH RL E50 + (RRL. He DET me . FUER SOTA N+ ERO ETE Cs. Mele SETTLE. RTE ROR AOE LE Wats. seme mE - PROC OUHME. BEIC ES ARK. TE AMER RMD. 2 AL Fah AR See - earth - itt RPI. Coe TRH. LAE Wolpe. Lm AIEEE. BN nae EAD oe RARER. IRR Sea ARIES. en? RPIEE. ORR eeseasenee 62 78 +94BRB CHEN. AML ee SOA. SH ARE" hse. ROAR, EVRA EIT. 7 WOW ERE NCC. eC EARN + ER DRAG. BA AOE eS. OAS ap EDIT. WAS ay cee Rae ROR - mms AOE NLM. 126 RTL SRIRAM + SAAT ea. ALE Bur sme. see USHERS. RUE WH: meee Seo. te ed Praha SBE. DERM ae mesa HI8 A CCH. MAE Disk II. SF Seem te. oh POLAR ER. RUMI 134 12 BS Ds RIL ona BOA. Sa ee es BSc Re TT. mF REM > BALE BeOCRER Aoam e BLRL MIC. Bb SESAME ILE. BB Bede. Ret me RRMA MT ww ee ee WHERE. aA FONT. ARLE SERA. 3 wie ce Ji = CALE. PRAT A , WBA Ss HEA EE AEE. RIE AR SEE. ER NTA E+ SSA am Ree PSE. SEMEL, MORSE Go wieee. Soap LR IE. AO MBL R= pRB RH Le les 182ANALYSIS Alvar Aalto / 14 ‘Town Hall, Saynatsalo Vouksenniska Church, Imatra Enso-Gutzeit Company Headquarters, Helsinki Cultural Center, Wolfsburg, ‘Tadao Ando /22 Chapel on Mt. Rokko, Kobe Church on the Water, Tomamu Erik Gunnar Asplund /26 Snellman House, Djursholm Woodland Chapel, Stockholm Lister County Courthouse, Solvesborg, Stockholm Public Library, Stockholm Peter Q. Bohlin /34 Weekend Residence for Mr. and Mrs. Eric Q. Bohlin, West Comwall Gaffney Residence, Romansville House in the Adirondacks, New York State Guest House, Gates Residence, Medina Mario Botta / 42 Single Family Residence, Riva San Vitale Church of San Giovanni Battista, Mogno Bianda Residence, Losone ‘The Church of Beato Odorico, Pordenone Filippo Brunelleschi / 50 Old Sacristy, Florence Ospedale Degli Innocenti, Florence Church of San Maria Degli Angeli, Florence Church of San Spirito, Florence Sverre Fehn/ 58 Villa Busk, Bamble ‘The Glacier Museum, Fjaerland Romaldo Giurgola / 62 ‘Adult Learning Research Laboratory, Bryn Mawr Lang Music Building, Swarthmore Student Union, Plattsburgh ‘Tredyffrin Public Library, Stratford Nicholas Hawksmoor /70 Easton Neston, Northamptonshire St. George-In-The-East, Wapping Christ Church, Spitalfields St. Mary Woolnoth, London Louis I. Kahn /78 Alfred N. Richards Medical Research Building, Philadelphia Salk Institute of Biological Studies, La Jolla Kimball Art Museum, Fort Worth Library, Exeter Le Corbusier / 86 Villa Savoye, Poissy Unite D’ Habitation, Marsailles Notre Dame Du Haut Chapel, Ronchamp ‘The Palace of Assembly, Chandigarh Claude Nicholas Ledoux / 94 Hotel De Montmorency, Paris Hotel Guimard, Paris Theater, Besancon Director's House, Saltworks of Are and Senans Edwin Lutyens / 102 Homewood, Knebworth Nashdom, Taplow Heathcote, Ilkley The Salutation, Sandwich Richard Meier / 110 Smith House, Darien The Atheneum, New Harmony Ulm Exhibition and Assembly Building, Ulm Weishaupt Forum, SchwendiCharles Moore /118 Moore House, Orinda Condominium I, Sea Ranch Hines House, Sea Ranch Burns House, Santa Monica Canyon Andrea Palladio / 126 Villa Foscari, Malcontenta Church of San Giorgio Maggiore, Venice La Rotonda, Vicenza Redentore Church, Venice Henry Hobson Richardson / 134 Trinity Church, Boston Sever Hall, Cambridge Allegheny County Courthouse, Pittsburgh J.J, Glessner House, Chicago James Stirling / 142 Engineering Building, Leicester History Faculty Building, Cambridge Florey Building, Oxford Olivetti Training School, Haslemere Louis Sullivan /150 Auditorium Building, ieago Wainwright Building, St. Louis Carson Pirie and Scott Store, Chicago National Farmers’ Bank, Owatonna Giuseppe Terragni /158 Novocomum Apartment House, Como Casa del Fascio, Como Sant’ Elia Nursery School, Como Villa Bianca, Seveso Ludwig Mies van der Rohe /166 German Pavilion at International Exhibition, Barcelona Tugendhat House, Brno Farnsworth House, near Plano Crown Hall, Chicago Robert Venturi / 174 Vanna Venturi House, Philadelphia Fire Station -Number 4, Columbus Peter Brant House, Greenwich Carll Tucker III House, Mount Kisco Frank Lloyd Wright / 182 Unity Temple, Oak Park Frederick G. Robie House, Chicago Fallingwater, Ohiopyle Solomon R. Guggenheim Museum, New YorkABSheh. GALT 88 PARRA. AEA LAL 29 fate RUMI. FACE RCHO RSA. RRA ABET ONE EAT ALCL IDA FRE BTA RE RL I CE SC ANGUS 1 LI PB CE 9 I sett. FL i ASE Om. Ze TL RRA LY 25 HEIN A Ae OTE. SR A Rp WEA 11 FO A MAS HEAT OE EF RLS OF. AE ACHE OT DL A SE 1. ERE T Re LAD RR ME AE HE. OR RR AE Ae 119 URE ANS. RATES. EMRE! EL AMEE. PPT ERE RAAB FA MI ACTH a RL Tete Aa se mino HaE. Ca RO ACA HOME RRIMAE. Seu. cede ORSAY EMOTE eT To. pera, AWARE. SAME ZINN. DLR HH. DT TAS RR HR. AIG PELORSE 9 20a LA ICR. SCM Ry TSE FE 2 JE SR. OL DE A EE EE AP PRHOTE. DAE RR OLEH SO A EA HI. We AL AA To a HT SHEPTON EE. HI. ELS. HLL. MOF SMM. MACE BL II OY OR. ATEN POSER. ICSE BSE OR. ELE A. JL ORDE. Im: FOOL ABE ee DAMA LR SPIE CAD Lin PLL ELI Li Fete. TERMI. ARIE. BER. EMA ONEL HES BT LAr RSI EIR ICM I. Pe Bee HE a. SAT eS. THE. RARE. BL HERA Aer EHDA. uk. AR HET LMS) eR. ae ESM HG a A. SET POR. GEL ne. 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