Architectural Styles
• Neolithic architecture 10,000 BC-3000 BC
• Sumerian architecture 5300 BC-2000 BC
• Phoenician architecture 3,000 BC-500 AD
• Ancient Egyptian architecture 3000 BC-373 AD
• Classical architecture 600 BC-323 AD
o Ancient Greek architecture 776 BC-265 BC
o Roman architecture 753 BC–663 AD
o Herodian architecture 37 BC-4 BC Judea
• Architecture of Armenia (IVe s - XVIe s)
• Merovingian architecture 400s-700s France and Germany
• Anglo-Saxon architecture 450s-1066 England and Wales
• Byzantine architecture 527 (Sofia)-1520
• Islamic Architecture 691-present
• Carolingian architecture 780s-800s France and Germany
• Repoblación architecture 880s-1000s Spain
• Ottonian architecture 950s-1050s Germany
• Russian architecture 989-1700s
• Romanesque architecture 1000-1300
• Norman architecture 1074-1250
• Gothic architecture
o Early English Period c.1190—c.1250
o Decorated Period c.1290–c.1350
o Perpendicular Period c.1350–c.1550
o Brick Gothic c.1350–c.1400
• Isabelline Gothic 1474-1505 (reign) Spain
• Tudor style architecture 1485–1603
• Manueline 1495-1521 (reign) Portugal & colonies
• Spanish Colonial style 1520s–c.1550
• Elizabethan architecture (b.1533–d.1603)
• Dutch Colonial 1615-1674 (Treaty of Westminster) New England
• Palladian architecture 1616–1680 (Jones)
• Churrigueresque, 1660s-1750s. Spain and the New World
• English Baroque 1666 (Great Fire)–1713 (Treaty of Utrecht)
• Sicilian Baroque 1693 earthquake–c.1745
• Chilota architecture 1600-present Chiloé and southern Chile
• Ukrainian Baroque late 1600-1800s
• Georgian architecture 1720-1840s UK & USA
o American colonial architecture 1720-1780s USA
• Pombaline style 1755 earthquake-c.1860 Portugal
• Gothic Revival architecture 1760s–1840s
o List of Gothic Revival architecture
• Neoclassical architecture
o Adam style 1770 UK
o Federal architecture 1780-1830 USA
o Empire (style) 1804-1814, 1870 revival
• Jeffersonian architecture 1790s-1830s Virginia, USA
• Florida cracker architecture c.1800-present Florida, USA
• Italianate 1802
• Egyptian Revival architecture 1809–1820s, 1840s, 1920s
• American Empire (style) 1810
• Biedermeier 1815–1848
• Russian Revival 1826-1917, 1990s-present
• Tudorbethan architecture 1835–1885
• Victorian architecture 1837 and 1901 UK
o See also San Francisco architecture
• Jacobethan 1838
• Carpenter Gothic USA and Canada 1840s on
• Queenslander (architecture) 1840s–1960s
o Australian architectural styles
• Romanesque Revival architecture 1840–1900 USA
• Neo-Manueline 1840s-1910s Portugal & Brazil
• Neo-Grec 1848 and 1865
• Adirondack Architecture 1850s New York, USA
• Bristol Byzantine 1850-1880
• Second Empire 1865 and 1880
• Queen Anne Style architecture 1870–1910s England & USA
o Stick Style 1879-1905 New England
o Eastlake Style 1879-1905 New England
o Shingle Style 1879-1905 New England
• National Park Service Rustic 1872–present USA
• Chicago school (architecture) 1880s and 1890 USA
• Neo-Byzantine architecture 1882–1920s American
• Art Nouveau/Jugendstil c. 1885–1910
o Modernisme 1888-1911 Catalonian Art Nouveau
o Vienna Secession 1897-c. 1905 Austrian Art Nouveau
• American Craftsman 1890s–1930 USA, California & east
• Richardsonian Romanesque 1880s USA
• City Beautiful movement 1890–1900s USA
• Colonial Revival architecture 1890s–1915
• Dutch Colonial Revival c.1900 New England
• Mission Revival Style architecture 1894-1936
• American Foursquare mid. 1890s-late 1930s USA
• Functionalism c.1900-1930s Europe & USA
o Danish Functionalism 1960s Denmark
• Pueblo style 1898-1990s
• Prairie Style 1900–1917 USA
• Heliopolis style 1905–c.1935 Egypt
• Futurist architecture 1909 Europe
• Expressionist architecture 1910–c.1924
• Amsterdam School 1912–1924 Netherlands
• Spanish Colonial Revival style 1915–1940 USA
• Bauhaus 1919–1930s
• Mediterranean Revival Style 1920s–1930s USA
• Art Deco 1925–1940s Europe & USA
• Constructivism 1925–1932 USSR
• Modern movement 1927–1960s
• International style (architecture) 1930–present Europe & USA
• Postconstructivism 1930–1935 USSR
• Streamline Moderne 1930–1937
• Nazi architecture 1933-1944 Germany
• Stalinist architecture 1933–1955 USSR
• Usonian 1936–1940s USA
• Soft Portuguese style 1940-1955 Portugal & colonies
• Ranch-style 1940s-1970s USA
• New towns 1946-1968 United Kingdom
• Mid-century modern 1950s California, etc.
• Florida Modern 1950s or Tropical Modern
• Googie architecture 1950s USA
• Brutalist architecture 1950s–1970s
• Structuralism (architecture) 1950s-1970s
• Metabolist Movement 1959 Japan
• Arcology 1970s-present
• Structural Expressionism 1980s-present
• Postmodern architecture 1980s
• Deconstructivism 1982–present
• Memphis Group 1981-1988
• Blobitecture 2003–present
• Interactive architecture 2000-present
Romantic or Gothic Revival Architecture
The Gothic Revival is an architectural movement which began in the 1740s in England. Its popularity grew rapidly in the early nineteenth century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval forms in contrast to the classical styles which were then prevalent. In England, the epicentre of this revival, it was intertwined with deeply philosophical movements associated with a re-awakening of 'High Church' or Anglo-Catholic self-belief (and by the Catholic convert Pugin) concerned by the growth of religious nonconformism - until the style became widespread for its intrinsic appeal in the third quarter of the nineteenth century. In parallel to the ascendancy of neo-Gothic styles in nineteenth century England, interest spread rapidly to the continent of Europe, in Australia and the Americas; indeed perhaps the number of Gothic Revival structures built in the nineteenth and twentieth centuries exceeds the number of authentic Gothic structures that had been built previously.
The Gothic Revival was paralleled and supported by medievalism, which had its roots in antiquarian concerns with survivals and curiosities. In English literature, the architectural Gothic Revival and classical Romanticism gave rise to the Gothic novel genre, beginning with Castle of Otranto (1764) by Horace Walpole, 4th Earl of Orford, and inspired a 19th century genre of medieval poetry which stems from the pseudo-bardic poetry of "Ossian." Poems like "Idylls of the King" by Alfred Tennyson, 1st Baron Tennyson recast specifically modern themes in medieval settings of Arthurian romance. In German literature, the Gothic Revival also had a grounding in literary fashions.[1]
Central Park, by Frederick Law Olmsted, at New York, New York, 1853 to 1878, to present.
Erlanger House, by Bernard Maybeck, at San Francisco, California, 1916.
Fonthill, by Henry Mercer, at Doylestown, Pennsylvania, 1908 to 1910.
Hvittrask, by Eliel Saarinen, at outside Helsinki, Finland, 1902.
Leys Wood, by Richard Norman Shaw, at Groombridge, Sussex, England, 1868 to 1869.
Mercer Museum, by Henry Mercer, at Doylestown, Pennsylvania, 1914.
Neuschwanstein Castle, by unknown, at Neuschwanstein, Germany, 1869.
San Simeon, by Julia Morgan, at San Simeon, California, 1922 to 1939.
The Orchard, by Charles F. A. Voysey, at Chorley Wood in Hertfordshire, England, 1899.
The Red House, by Philip Webb, at Bexleyheath, in Kent, England, 1859.
Woodland Chapel, by Erik Gunnar Asplund, at Stockholm, Sweden, 1918 to 1920.
Wyntoon, by Julia Morgan, at near Mount Shasta, California, 1924 to 1943.
Art Nouveau
Art Nouveau is an international movement[2] and style of art, architecture and applied art—especially the decorative arts—that peaked in popularity at the turn of the 20th century (1890–1905).[3] The name 'Art nouveau' is French for 'new art', it is also known as Jugendstil, German for 'youth style', named after the magazine Jugend, which promoted it. A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms.[4] Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life.[5]
Art Nouveau's fifteen-year peak was strongly felt throughout Europe—from Glasgow to Moscow to Spain—but its influence was global. Hence, it is known in various guises with frequent localized tendencies.[6] In France, Hector Guimard's metro entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought in Nancy. Victor Horta had a decisive impact on architecture in Belgium.[7] Magazines like Jugend helped spread the style in Germany, especially as a graphic artform, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary. Art Nouveau was also a movement of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alfons Mucha, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, each of whom interpreted it in their own individual manner.[8][9]
Although Art Nouveau fell out of favor with the arrival of 20th-century modernist styles,[10] it is seen today as an important bridge between the historicism of Neoclassicism and modernism.[9] Furthermore, Art Nouveau monuments are now recognized by UNESCO on their World Heritage List as significant contributions to cultural heritage.[11] The historic center of Riga, Latvia, with "the finest collection of art nouveau buildings in Europe", was inscribed on the list in 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil architecture",[12] and four Brussels town houses by Victor Horta were included in 2000 as "works of human creative genius" that are "outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society."[1] It later influenced psychedelic art that flourished in the 1960s and 1970s
Behrens House, by Peter Behrens, at Darmstadt, Germany, 1901.
Casa Batllo, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1907.
Casa Mila, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1910.
Castel Beranger, by Hector Guimard, at Paris, France, 1890 (circa).
Glasgow School of Art, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1897 to 1909.
Hill House, by Charles Rennie Mackintosh, at Helensburgh, Scotland, 1902 to 1903.
Horta House, by Victor Horta, at Brussels, Belgium, 1898.
Hotel Guimard, by Hector Guimard, at Paris, France, 1912.
Hotel Solvay, by Victor Horta, at Brussels, Belgium, 1895 to 1900.
Hotel van Eetvelde, by Victor Horta, at Brussels, Belgium, 1895 to 1898.
Majolica House, by Otto Wagner, at Vienna, Austria, 1898 to 1899.
Paris Metro Entrances, by Hector Guimard, at Paris, France, 1899 to 1905.
School in Glasgow, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1904 to 1906.
Sezession House, by J. M. Olbrich, at Vienna, Austria, 1896.
Tassel House, by Victor Horta, at Brussels, Belgium, 1892 to 1893.
The Willow Tea Rooms, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1902 to 1904.
Werkbund Theater, by Henry van de Velde, at Cologne, Germany, 1914.
Whitechapel Art Gallery, by C. Harrison Townsend, at London, England, 1897 to 1901.
Arts and Crafts Movement
The Arts and Crafts Movement was a British, Canadian, and American aesthetic movement occurring in the last years of the 19th century and the early years of the 20th century. Inspired by the writings of John Ruskin and a romantic idealization of the craftsman taking pride in his personal handiwork, it was at its height between approximately 1880 and 1910.
It was a reformist movement that influenced British, Canadian, and American architecture, decorative arts, cabinet making, crafts, and even the "cottage" garden designs of William Robinson or Gertrude Jekyll. Its best-known practitioners were William Morris, Charles Robert Ashbee, T. J. Cobden Sanderson, Elbert Hubbard, Walter Crane, Nelson Dawson, Phoebe Anna Traquair, Herbert Tudor Buckland, Charles Rennie Mackintosh, Christopher Dresser, Edwin Lutyens, William De Morgan, Ernest Gimson, William Lethaby, Edward Schroeder Prior, Frank Lloyd Wright, Gustav Stickley, Greene & Greene, Charles Voysey, Christopher Whall and artists in the Pre-Raphaelite movement.
In the United States, the terms American Craftsman, or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco, or roughly the period from 1910 to 1925.
In Canada, the term Arts and Crafts predominates, but the term Craftsman is also recognized.
Bloemenwerf House, by Henry van de Velde, at Uccle, near Brussels, Belgium, 1895 to 1896.
D. L. James House, by Greene and Greene, at Carmel Highlands, California, 1918.
Davis House, by Howard Davis, at Eugene, Oregon, 1990.
First Church of Christ Scientist, by Bernard Maybeck, at Berkeley, California, 1910.
Gamble House, by Greene and Greene, at Pasadena, California, 1909.
Glasgow School of Art, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1897 to 1909.
Greyfriars, by Charles F. A. Voysey, at Surrey, England, 1897.
N. Bentz House, by Greene and Greene, at Santa Barbara, California, 1911.
School in Glasgow, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1904 to 1906.
St. Leopold am Steinhof, by Otto Wagner, at Vienna, Austria, 1905 to 1907.
Stickley House, by Gustav Stickley, at Morris Plains, NJ, 1908.
The Red House, by Philip Webb, at Bexleyheath, in Kent, England, 1859.
The Salutation, by Edwin Lutyens, at Sandwich, Kent, England, 1911.
Wyntoon, by Julia Morgan, at near Mount Shasta, California, 1924 to 1943.
Neo-classical
Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece and the architecture of Italian Andrea Palladio.
Altes Museum, by Karl Friedrich Schinkel, at Berlin, Germany, 1823 to 1830.
American Academy in Rome, by McKim, Mead, and White, at Rome, Italy, 1913.
Baker Public Library, by unknown, at Baker, Oregon, 1909 to 1914.
Baltimore Cathedral, by Benjamin Henry Latrobe, at Baltimore, Maryland, 1806 or 1814 to 1818.
Bibliotheque Nationale, by Henri Labrouste, at Paris, France, 1862 to 1868.
Burn Hall, by Sir John Soane, at England, 1785.
Casino at Marino, by William Chambers, at Marino, Dublin, Ireland, 1754.
Circus at Bath, by John Wood, at Bath, England, 1754.
Dulwich Gallery, by Sir John Soane, at London, England, 1811 to 1814.
Faneuil Hall, by Charles Bulfinch, at Boston, Massachusetts, 1762, 1805.
Galleria Vittorio Emanuele, by Giuseppe Mengoni, at Milan, Italy, 1861 designed, built 1865 to 1877.
Green Park Ranger's House, by Robert Adams, at England, 1768.
Helsinki Library, by Carl Ludvig Engel, at Helsinki, Finland, 1840.
Hotel de Beauvais, by Antoine le Pautre, at Paris, France, 1656.
Hunting Lodge, by Karl Friedrich Schinkel, at Antonin, Poland, 1822.
Le Petit Trianon, by Ange-Jacques Gabriel, at Versailles, France, 1762 to 1768.
Low Library, by McKim, Mead and White, at New York, New York, 1903.
Massachusetts State House, by Charles Bulfinch, at Boston, Massachusetts, 1795 to 1797.
Mosque of Sultan Ahmed, by Sedefkar Mehmed Aga, at Istanbul, Turkey, 1610 to 1616.
Mount Vernon, by Lawrence and George Washington, at Mount Vernon, Virginia, 1743, remodeled 1754 to circa 1780.
Nebraska State Capitol, by Bertram Goodhue, at Lincoln, Nebraska, 1924.
North Carolina State Capitol, by Town and Davis, at Raleigh, North Carolina, 1833 to 1840.
Pennsylvania Station, by McKim, Mead, and White, at New York, New York, 1910.
Piazza of St. Peter's, by Bernini, at Vatican City, surrounded by Rome, Italy, 1656 to 1667.
Police Headquarters, by Hack Kampmann, at Copenhagen, Denmark, 1918 to 1924.
Poplar Forest, by Thomas Jefferson, at Forest, near Lynchburg, Virginia, 1806.
Rhode Island State Capitol, by McKim, Mead, and White, at Providence, Rhode Island, 1895 to 1903.
Soane Museum, by Sir John Soane, at London, England, 1812 to 1834.
Somerset House, by William Chambers, at London, England, 1776 to 1786.
Statue of Liberty, by Frederic Bartholdi, at Liberty Island, New York, New York, 1884 to 1886.
Stourhead Garden, by Henry Hoare II and Henry Flitcroft, at Stourton, England, 1741 to 1765.
Temple of the Scottish Rite, by John Russell Pope, at Washington, D.C., 1910.
Tendering Hall, by Sir John Soane, at near Suffolk, England, 1784 to 1790.
The Palladian Bridge, by Henry Herbert, at Buckinghamshire, England, 1735 - 1737.
The Pentagon, by George Bergstrom, at Arlington, Virginia, near Washington, D.C., 1941 to 1943.
The Royal Crescent, by John Wood, at Bath, England, 1767 to 1775.
The White House, by James Hoban, at Washington, D.C., 1793 to 1801, burned 1814, porticos 1824 to 1829.
Theater at Besancon, by Claude Nicholas Ledoux, at Besancon, France, 1775.
U.S. Supreme Court, by Cass Gilbert, at Washington, D.C., 1935.
United States Capitol, by Thornton-Latrobe-Bulfinch, at Washington, D.C., 1793 to 1830.
University of Virginia, by Thomas Jefferson, at Charlottesville, Virginia, 1826.
Worker's Club, by Alvar Aalto, at Jyvaskyla, Finland, 1924.
Art Deco
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. At the time, this style was seen as elegant, glamorous, functional, and modern.
The 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]
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 popularization 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, Spain, Cuba, the Philippines, Romania, New Zealand 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.
Chrysler Building, by William Van Alen, at New York, New York, 1928 to 1930.
Empire State Building, by Shreve, Lamb and Harmon, at New York, New York, 1931.
Golden Gate Bridge, by Joseph B. Strauss, at San Francisco, California, 1933 to 1937.
Kiefhook Housing estate, by J. J. P. Oud, at Rotterdam, The Netherlands, 1930.
Martin Luther King Jr. Civic Center, by James Plachek, renovation by ELS Architecture and Urban Design, at Berkeley, California, 1940, 2001.
Nebraska State Capitol, by Bertram Goodhue, at Lincoln, Nebraska, 1924.
Chicago School
Chicago's architecture is famous throughout the world and one style is referred to as the Chicago School. The style is also known as Commercial style.[1] In the history of architecture, the Chicago School was a school of architects active in Chicago at the turn of the 20th century. They were among the first to promote the new technologies of steel-frame construction in commercial buildings, and developed a spatial aesthetic which co-evolved with, and then came to influence, parallel developments in European Modernism. A "Second Chicago School" later emerged in the 1960s and 1970s which pioneered new structural systems such as the tube-frame structure
Prairie Style
Prairie School was a late 19th and early 20th century architectural style, most common to the Midwestern United States.
The works of the Prairie School architects are usually marked by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament. Horizontal lines were thought to evoke and relate to the native prairie landscape.
The term "Prairie School" was not actually used by these architects to describe themselves (for instance, Marion Mahony used the phrase The Chicago Group); the term was coined by H. Allen Brooks, one of the first architectural historians to write extensively about these architects and their work
Coonley House, by Frank Lloyd Wright, at Riverside, Illinois, 1908.
D. D. Martin House, by Frank Lloyd Wright, at Buffalo, New York, 1904.
Robie Residence, by Frank Lloyd Wright, at Chicago, Illinois, 1909.
W. E. Martin House, by Frank Lloyd Wright, at Oak Park, Illinois, 1903.
Ward Willits House, by Frank Lloyd Wright, at Highland Park, Illinois, 1902.
Early Modern Architecture
The early modern period is a term used by historians to refer to the period roughly between 1500 to 1800 in Western Europe (Early modern Europe).[citation needed] It follows the Late Middle Ages period, and is marked by the first European colonies, the rise of strong centralized governments, and the beginnings of recognizable nation states that are the direct antecedents of today's states in what is called Modern times. This categorical era spans the two centuries between the Middle Ages and the Industrial Revolution that has created modern European and American society, and in subsequent years the term "Early modern" has evolved to be less euro-centric and more generally a semi-calendar era useful for tracking related historical events across vast regions, as the cultural influences and dynamics from one region impacting on distant others has become more appreciated.
The early modern period is characterized by the rise to importance of science, the shrinkage of relative distances through improvements in transportation and communications and increasingly rapid technological progress, secularized civic politics and the early authoritarian nation states.
Further, capitalist economies and institutions began their rise and development, beginning in northern Italian republics such as Genoa, and the oligarchy in Venice. The early modern period also saw the rise and beginning of the dominance of the economic theory of mercantilism.
As such, the early modern period represents the decline and eventual disappearance, in much of the European sphere, of Christian theocracy, feudalism and serfdom.
The period includes the Reformation, the disastrous Thirty Years' War, the Commercial Revolution, the European colonization of the Americas, the Golden Age of Piracy and the peak of the European witch-hunt craze.
A. E. G. High Tension Factory, by Peter Behrens, at Berlin, Germany, 1910.
Aalsmeer House, by Bijvoet and Duiker, at Aalsmeer, The Netherlands, 1924.
Airship Hangers, by Eugene Freyssinet, at Orly, near Paris, France, 1916 to 1923.
Breslau Office Building, by Hans Poelzig, at Breslau, Germany - now Wroclaw, Poland, 1911 to 1912.
Centennial Hall, by Max Berg, at Breslau, Poland, 1911 to 1912.
Commodities Exchange, by Hendrik Petrus Berlage, at Amsterdam, The Netherlands, 1897 to 1909.
Daal en Berg Houses, by Jan Wils, at Den Haag, The Netherlands, 1920.
Dodge House, by Irving Gill, at Los Angeles, 1916.
Einstein Tower, by Erich Mendelsohn, at near Potsdam, Germany, 1919 to 1921.
Fagus Works, by Walter Gropius, at Alfeld an der Leine, Germany, 1911 to 1913.
Finnish Pavilion, 1937, by Alvar Aalto, at Paris, France, 1935 to 1937.
Flatiron Building, by Daniel Burnham, at New York, New York, 1902.
Flats at Rue des Amiraux, by Henri Sauvage, at Paris, France, 1923 to 1925.
Goetheanum I, by Rudolf Steiner, at Dornach, near Basel, Switzerland, 1913 to 1920.
Hallidie Building, by Willis Polk, at San Francisco, California, 1918.
Horatio West Court, by Irving Gill, at Santa Monica, California, 1919.
Imperial Hotel, by Frank Lloyd Wright, at Tokyo, Japan, 1916 to 1922.
Karl Marx Hof, by Karl Ehn, at Vienna, Austria, 1930.
Khuner Villa, by Adolf Loos, at on the Kreuzberg, Payerback, Austria, 1930.
Kiefhook Housing estate, by J. J. P. Oud, at Rotterdam, The Netherlands, 1930.
Larkin Building, by Frank Lloyd Wright, at Buffalo, New York, 1904 , demolished 1950.
Le Parisien Offices, by G. P. Chedanne, at Paris, France, 1903.
Maison de Verre, by Bijvoet and Chareau, at Paris, France, 1927 to 1932.
National Farmers' Bank, by Louis H. Sullivan, at Owatonna, Minnesota, 1907 to 1908.
Notre Dame du Raincy, by Auguste Perret, at Raincy, France, 1922.
Ozenfant House and Studio, by Le Corbusier, at Paris, France, 1922.
Paimio Sanatorium, by Alvar Aalto, at Paimio, Finland, 1929 to 1933.
Post Office Savings Bank, by Otto Wagner, at Vienna, Austria, 1904 to 1912.
Rue Franklin Apartments, by Auguste Perret, at Paris, France, 1902 to 1904.
Rufer House, by Adolf Loos, at Vienna, Austria, 1922.
Schlesinger and Meyer Department Store, by Louis H. Sullivan, at Chicago, Illinois, 1899 to 1904.
Schroder House, by Gerrit Rietveld, at Utrecht, The Netherlands, 1924 to 1925.
St. Paul's Church, by Louis H. Sullivan, at Cedar Rapids, Iowa, 1910 to 1914.
Steiner House, by Adolf Loos, at Vienna, Austria, 1910.
Stoclet Palace, by Josef Hoffmann, at Brussels, or Bruxelles, Belgium, 1905 to 1911.
Storer Residence, by Frank Lloyd Wright, at Los Angeles, California, 1923.
Turku Cemetery Chapel, by Erik Bryggman, at Turku, Finland, 1939 to 1941.
Unity Temple, by Frank Lloyd Wright, at Oak Park, Illinois, 1906.
Villa at Huis ter Heide, by Robert van't Hoff, at near Utrecht, the Netherlands, 1916.
Wainwright Building, by Louis H. Sullivan, at St. Louis, Missouri, 1890 to 1891.
Arena Building, by Lars Sonck, at Helsinki, Finland, 1923 to 1935.
Worker's Club, by Alvar Aalto, at Jyvaskyla, Finland, 1924.
Modern Architecture
Modern architecture is a set of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. The first variants were conceived early in the 20th century. Modern architecture was adopted by many influential architects and architectural educators, however very few "Modern buildings" were built in the first half of the century. It gained popularity after the Second World War and became the dominant architectural style for institutional and corporate buildings for three decades.
The exact characteristics and origins of Modern architecture are still open to interpretation and debate.
Lever House, by Gordon Bunshaft/ SOM, at New York, New York, 1950 to 1952.
Marina City, by Bertrand Goldberg, at Chicago, Illinois, 1959 to 1964.
Sangath, by Balkrishna Doshi, at Ahmedabad, Gujarat State, India, 1979 to 1981.
Seagram Building, by Ludwig Mies van der Rohe, at New York, New York, 1954 to 1958.
U. N. Plaza, by Roche-Dinkeloo, at New York, New York, 1969 to 1975
Bauhaus
Bauhaus ("House of Building" or "Building School") is the common term for the Staatliches Bauhaus, 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.
International Style
The International style was a major architectural style of the 1920s and 1930s. The term usually refers to the buildings and architects of the formative decades of Modernism, before World War II. The term had its origin from the name of a book by Henry-Russell Hitchcock and Philip Johnson written to record the International Exhibition of Modern Architecture held at the Museum of Modern Art in New York City in 1932 which identified, categorised and expanded upon characteristics common to Modernism across the world. As a result, the focus was more on the stylistic aspects of Modernism. Hitchcock's and Johnson's aims were to define a style of the time, which would encapsulate this modern architecture. They identified three different principles: the expression of volume rather than mass, balance rather than preconceived symmetry and the expulsion of applied ornament. All the works which were displayed as part of the exhibition were carefully selected, as only works which strictly followed the set of rules were displayed.[1] Previous uses of the term in the same context can be attributed to Walter Gropius in Internationale Architektur, and Ludwig Hilberseimer in Internationale neue Baukunst
De Stijl
De Stijl, also known as neoplasticism, was a Dutch artistic movement founded in 1917. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.[1][2] De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg (1883–1931), propagating the group's theories. Next to van Doesburg, the group's principal members were the painters Piet Mondrian (1872–1944), Vilmos Huszàr (1884–1960), and Bart van der Leck (1876–1958), and the architects Gerrit Rietveld (1888–1964), Robert van 't Hoff (1887–1979), and J.J.P. Oud (1890–1963). The artistic philosophy that formed a basis for the group's work is known as neoplasticism — the new plastic art (or Nieuwe Beelding in Dutch).
Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay 'Neo-Plasticism in Pictorial Art'. He writes, "... this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour." The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line."[3] The Guggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines."
Cubism
Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as 'Analytic Cubism,' was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, (using synthetic materials in the art) the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity.
English art historian Douglas Cooper describes three phases of Cubism in his seminal book 'The Cubist Epoch'. According to Cooper there was 'Early Cubism,' (from 1906-1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called 'High Cubism,' (from 1909 to 1914) during which time Juan Gris emerged as an important exponent; and finally Cooper referred to 'Late Cubism' (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.[1]
In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics.
Constructivist architecture
Constructivist architecture was a form of modern architecture that flourished in the Soviet Union in the 1920s and early 1930s. It combined advanced technology and engineering with an avowedly Communist social purpose. Although it was divided into several competing factions, the movement produced many pioneering projects and finished buildings, before falling out of favour around 1932. Its effects have been marked on later developments in architecture.
Expressionist Architecture
Expressionist architecture was an architectural movement that developed in Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts.
The term "Expressionist architecture" initially described the activities of the German, Dutch, Austrian, Czech and Danish avant garde from 1910 until ca. 1924. Subsequent redefinitions extended the term backwards to 1905 and also widened it to encompass the rest of Europe. Today the meaning has broadened even further to refer to architecture of any date or location that exhibits some of the qualities of the original movement such as; distortion, fragmentation or the communication of violent or overstressed emotion.[1]
The style was characterised by an early-modernist adoption of novel materials, formal innovation, and very unusual massing, sometimes inspired by natural biomorphic forms, sometimes by the new technical possibilities offered by the mass production of brick, steel and especially glass. Many expressionist architects fought in World War I and their experiences, combined with the political turmoil and social upheaval that followed the German Revolution of 1919, resulted in a utopian outlook and a romantic socialist agenda.[2] Economic conditions severely limited the number of built commissions between 1914 and the mid 1920s,[3] resulting in many of the most important expressionist works remaining as projects on paper, such as Bruno Taut's Alpine Architecture and Hermann Finsterlin's Formspiels. Ephemeral exhibition buildings were numerous and highly significant during this period. Scenography for theatre and films provided another outlet for the expressionist imagination,[4] and provided supplemental incomes for designers attempting to challenge conventions in a harsh economic climate.
Important events in expressionist architecture include; the Werkbund Exhibition (1914) in Cologne, the completion and theatrical running of the Grosses Schauspielhaus, Berlin in 1919, the Glass Chain letters, and the activities of the Amsterdam School. The major permanent extant landmark of Expressionism is Erich Mendelsohn's Einstein Tower in Potsdam. By 1925 most of the leading architects of Expressionism such as; Bruno Taut, Eric Mendelsohn, Walter Gropius, Mies van der Rohe and Hans Poelzig, along with other Expressionists in the visual arts, had turned toward the Neue Sachlichkeit (New Objectivity) movement, a more practical and matter-of-fact approach which rejected the emotional agitation of expressionism. A few, notably Hans Scharoun, continued to work in an expressionist idiom.[5]
In 1933, after the Nazi seizure of power in Germany, expressionist art was outlawed as Degenerate art.[5] Until the 1970s scholars[6] commonly played down the influence of the expressionists on the later International style, but this has been re-evaluated in recent years.
Air Force Academy Chapel, by Walter Netsch/ SOM, at Colorado Springs, Colorado, 1956 to 1962.
Bavinger House, by Bruce Goff, at Norman, Oklahoma, 1950 to 1955.
Beijing National Stadium, by Herzog and de Meuron, at Beijing, China, 2008.
Casa Batllo, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1907.
Colonia Guell, by Antoni Gaudi, at near Barcelona, Spain, 1898 , 1908 to 1915.
Diamond Ranch High School, by Thom Mayne - Morphosis, at Diamond Bar, near Pomona, California, 1999 to 2000.
Dipoli Conference Center, by Reima Pietila, at Otaniemi, Finland, 1966.
Eiffel Tower, by Gustave Eiffel, at Paris, France, 1887 to 1889.
Einstein Tower, by Erich Mendelsohn, at near Potsdam, Germany, 1919 to 1921.
Fallingwater, by Frank Lloyd Wright, at Ohiopyle, (Bear Run), Pennsylvania, 1934 , 1938, 1948.
Gateway Arch, by Eero Saarinen, at St. Louis, Missouri, 1947 competition, construction 1961 to 1966.
Guggenheim Museum Bilbao, by Frank Gehry, at Bilbao, Spain, 1997.
Het Scheep, by Michael de Klerk, at Amsterdam, The Netherlands, 1917 to 1921.
I. G. Farben Offices, by Peter Behrens, at Frankfurt, Germany, 1920 to 1925.
Iron Bridge at Coalbrookdale, by T. M. Pritchard, at Coalbrookdale, England, 1777 to 1779.
Museo Oscar Niemeyer, by Oscar Niemeyer, at Curitiba, Paraná, Brazil, 2002.
Museum of Fruit, by Itsuko Hasegawa, at Yamanashi, Japan, 1996.
Notre Dame du Haut, or Ronchamp, by Le Corbusier, at Ronchamp, France, 1955.
Olympic Arena, by Kenzo Tange, at Tokyo, Japan, 1961 to 1964.
Olympic Games Tent, by Gunter Behnisch, at Munich, Germany, 1972.
Park Guell, by Antoni Gaudi, at Montana Pelada, Barcelona, Spain, 1900 to 1914.
Pilgrimage Church, by Gottfried Bohm, at Neviges, Germany, 1962.
Sagrada Familia, by Antoni Gaudi, at Barcelona, Spain, 1882 to 1926.
Salginatobel Bridge, by Robert Maillart, at near Schiers, Switzerland, 1929 to 1930.
Small Olympic Arena, by Kenzo Tange, at Tokyo, Japan, 1961 to 1964.
St. Antonius Church, by Justus Dahinden, at Wildegg, Switzerland, 1966 to 1969.
Saint Mary's Cathedral, San Francisco, by Pier Luigi Nervi, at San Francisco, California, 1971.
Sydney Opera House, by Jorn Utzon, at Sydney, Australia, 1957 to 1973.
Vitra Design Museum, by Frank Gehry, at Weil-am-Rhein, Germany, 1990.
Weisman Art Museum, by Frank Gehry, at Minneapolis, Minnesota, 1993.
Yale Hockey Rink, by Eero Saarinen, at New Haven, Connecticut, 1956 to 1958.
Brutalism
Brutalist architecture is a style of architecture which flourished from the 1950s to the mid 1970s, spawned from the modernist architectural movement. The English architects Alison and Peter Smithson coined the term in 1954, from the French béton brut, or "raw concrete", a phrase used by Le Corbusier to describe his choice of material. The term 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
Structuralism
Structuralism as a movement in architecture and urban planning evolved around the middle of the 20th century. It was a reaction to CIAM-Functionalism (Rationalism), which had led to a lifeless expression of urban planning that ignored the identity of the inhabitants and urban forms.
Two different manifestations of Structuralist architecture exist. Sometimes these occur in combination with each other. On the one hand, there is the Aesthetics of Number, formulated by Aldo van Eyck. This concept can be compared to cellular tissue. On the other hand, there is the Architecture of Lively Variety, formulated by John Habraken. This second concept is related to user participation in housing.
The "Aesthetics of Number" can also be described as "Spatial Configurations in Architecture", and the "Architecture of Lively Variety" as "Architecture of Diversity" or "Pluralistic Architecture".
Structuralism in a general sense is a mode of thought of the 20th century, which came about in different places, at different times and in different fields. It can also be found in linguistics, anthropology, philosophy, art and architecture.
Post Modern Architecture
Postmodern architecture was an international style whose first examples are generally cited as being from the 1950s, and which continues to influence present-day architecture. Postmodernity in architecture is generally thought to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound.
Classic examples of modern architecture are SOM's Lever House or Mies van der Rohe's Seagram Building, as well as the architecture of Le Corbusier or the Bauhaus movement. Transitional examples of postmodern architecture are Michael Graves' Portland Building in Portland, Oregon and Philip Johnson's Sony Building (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture. A prime example of inspiration for postmodern architecture lies along the Las Vegas Strip, which was studied by Robert Venturi and Denise Scott Brown in their 1972 book Learning from Las Vegas celebrating the strip's ordinary and common architecture.
Postmodern architecture has also been described as "neo-eclectic", where reference and ornament have returned to the facade, replacing the aggressively unornamented modern styles. This eclecticism is often combined with the use of non-orthogonal angles and unusual surfaces, most famously in the State Gallery of Stuttgart (New wing of the Staatsgalerie Stuttgart) and the Piazza d'Italia by Charles Willard Moore. The Scottish Parliament buildings in Edinburgh have also been cited as being of postmodern vogue.[citation needed]
Modernist architects regard post-modern buildings as vulgar and cluttered with "gew-gaws". Postmodern architects often regard modern spaces as soulless and bland. The divergence in opinions comes down to a difference in goals: modernism is rooted in minimal and true use of material as well as absence of ornament, while postmodernism is a rejection of strict rules set by the early modernists and seeks exuberance in the use of building techniques, angles, and stylistic references.
Abteiburg Museum, by Hans Hollein, at Monchen-Gladbach, Germany, 1972 to 1982.
Alexander House, by Michael Graves, at Princeton, New Jersey, 1971 to 1973.
Allen Art Museum Addition, by Robert Venturi, at Oberlin, Ohio, 1973 to 1976.
Brant House, by Robert Venturi, at Greenwich, Connecticut, 1972.
Brant-Johnson Ski House, by Robert Venturi, at Vail, Colorado, 1977.
Brion-Vega Cemetery, by Carlo Scarpa, at San Vito d'Altivole, Italy, 1970 to 1972.
Crooks House, by Michael Graves, at Fort Wayne, Indiana, 1976.
Dusseldorf Museum of Art, by James Stirling, at Dusseldorf, Germany, 1980.
Gehry House, by Frank Gehry, at Santa Monica, California, 1978.
Gordon Wu Hall, by Robert Venturi and Denise Scott Brown, VSBA, at Princeton, New Jersey, 1983.
Haas Haus, by Hans Hollein, at Vienna, Austria, 1987 to 1990.
Hood Museum of Art, by Charles Moore, at Hanover, New Hampshire, 1981 to 1983.
Hotel Il Palazzo, by Aldo Rossi, at Fukuoka, Japan, 1987.
MOCA, by Arata Isozaki, at Los Angeles, California, 1981 to 1986.
Nakayama House, by Arata Isozaki, at Japan, 1964.
Neue Staatsgalerie, by James Stirling, at Stuttgart, Germany, 1977 to 1983.
Portland Building, by Michael Graves, at Portland, Oregon, 1980.
SFMOMA, by Mario Botta, at San Francisco, California, 1995.
Shukosha Building, by Arata Isozaki, at Fukuoka, Japan, 1974 to 1975.
Team Disney Building, by Arata Isozaki, at near Orlando, Florida, 1989 to 1990.
Tucker House, by Robert Venturi, at Mount Kisco, New York, 1975.
Vanna Venturi House, by Robert Venturi, at Chestnut Hill, Philadelphia, Pennsylvania, 1962.
Venice Beach House, by Frank Gehry, at Venice, California, 1986.
Villa in Djursholm, by Erik Gunnar Asplund, at Djursholm, near Stockholm, Sweden, 1917 to 1918.
Yano House, by Arata Isozaki, at Kawasaki, Japan, 1975.
Deconstructivist Modern
Deconstructivism in architecture, also called deconstruction, is a development of postmodern architecture that began in the late 1980s. It is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterised by a stimulating unpredictability and a controlled chaos.
Important events in the history of the deconstructivist movement include the 1982 Parc de la Villette architectural design competition (especially the entry from Jacques Derrida and Peter Eisenman[1] and Bernard Tschumi's winning entry), the Museum of Modern Art’s 1988 Deconstructivist Architecture exhibition in New York, organized by Philip Johnson and Mark Wigley, and the 1989 opening of the Wexner Center for the Arts in Columbus, designed by Peter Eisenman. The New York exhibition featured works by Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelb(l)au, and Bernard Tschumi. Since the exhibition, many of the architects who were associated with Deconstructivism have distanced themselves from the term. Nonetheless, the term has stuck and has now, in fact, come to embrace a general trend within contemporary architecture.
Originally, some of the architects known as Deconstructivists were influenced by the ideas of the French philosopher Jacques Derrida. Eisenman developed a personal relationship with Derrida, but even so his approach to architectural design was developed long before he became a Deconstructivist. For him Deconstructivism should be considered an extension of his interest in radical formalism. Some practitioners of deconstructivism were also influenced by the formal experimentation and geometric imbalances of Russian constructivism. There are additional references in deconstructivism to 20th-century movements: the modernism/postmodernism interplay, expressionism, cubism, minimalism and contemporary art. The attempt in deconstructivism throughout is to move architecture away from what its practitioners see as the constricting 'rules' of modernism such as "form follows function," "purity of form," and "truth to materials."
Food Theater Cafe, by Daniel Libeskind, at London, England, 2001.
Frank House, Eisenman, by Peter Eisenman, at Washington, Connecticut, 1975.
Gehry House, by Frank Gehry, at Santa Monica, California, 1978.
Office Extension in Vienna, by Coop Himmelblau, at Vienna, Austria, 1988 to 1989.
Wexner Center, by Peter Eisenman, at Ohio State University, Columbus, Ohio, 1983 to 1989.
High-Tech Architecture
High-tech architecture, also known as Late Modernism or Structural Expressionism, is an architectural style that emerged in the 1970s, incorporating elements of high-tech industry and technology into building design. High-tech architecture appeared as a revamped modernism, an extension of those previous ideas aided by even more advances in technological achievements. This category serves as a bridge between modernism and post-modernism, however there remain gray areas as to where one category ends and the other begins. In the 1980s, high-tech architecture became more difficult to distinguish from post-modern architecture. Many of its themes and ideas were absorbed into the language of the post-modern architectural schools.
Like Brutalism, Structural Expressionist buildings reveal their structure on the outside as well as the inside, but with visual emphasis placed on the internal steel and/or concrete skeletal structure as opposed to exterior concrete walls.
The style's premier practitioners include the British architect Norman Foster, whose work has since earned him knighthood, and Spanish architect Santiago Calatrava, known for his organic, skeleton-like designs.
Buildings designed in this style usually consist of a clear glass facade, with the building's network of support beams exposed behind it. Perhaps the most famous and easily recognized building built in this style is I.M. Pei's Bank of China Tower in Hong Kong. The World Trade Center in New York City, although generally considered to be an International Style building, was technically a Structural Expressionist design due to its load-bearing steel exoskeleton.
30 St Mary Axe, by Norman Foster, at London, England, UK, 2000 to 2004.
88 Wood Street, by Richard Rogers, at London, England, 1993 to 2001.
Centre Pompidou, by Rogers and Piano, at Paris, France, 1972 to 1976.
Chek Lap Kok Airport, by Norman Foster, at Hong Kong, China, 1998.
Continental Train Platform, by Nicholas Grimshaw and Partners, at Waterloo Station, London, England, 1993.
Ecological Center Project, by Nicholas Grimshaw, at St. Austell, Cornwall, England, 1996.
Enerplex, North Building, by Skidmore Owings and Merrill (SOM), at Princeton, New Jersey, 1982.
Glyndebourne Opera House, by Michael Hopkins and Partners, at England, 1994.
Hongkong and Shanghai Bank, by Norman Foster, at Hong Kong, China, 1979 to 1986.
Hotel du Departement, by Alsop and Stormer, at Marseille, France, 1994.
Hysolar Research Building, by Gunter Behnisch, at Stuttgart, Germany, 1986 to 1987.
INMOS Factory, by Richard Rogers, at Newport, South Wales, 1980 to 1982.
IRCAM Extension, by Renzo Piano, at Paris, France, 1988 to 1989.
Kansai Airport Terminal, by Renzo Piano, at Osaka, Japan, 1994.
Lloyds Building, by Richard Rogers, at London, England, 1979 to 1984.
London City Hall, by Norman Foster, at London, England, UK, 1998 to 2003.
Menil Collection, by Renzo Piano, at Houston, Texas, 1982 to 1986.
Millau Viaduct, by Norman Foster, at Millau, Tarn Valley, France, 2004.
Millennium Dome, by Richard Rogers, at London, England, United Kingdom, 1999.
Museum of Fruit, by Itsuko Hasegawa, at Yamanashi, Japan, 1996.
PA Technology Center UK, by Richard Rogers, at Melbourn, Hertfordshire, England, 1975 to 1983.
PA Technology Center, by Richard Rogers, at Princeton, New Jersey, 1982.
Rue de Meaux Housing, by Renzo Piano, at Paris, France, 1988 to 1991.
Sainsbury Centre, by Norman Foster, at Norwich, England, 1977.
Schlumberger Centre, by Michael Hopkins, at Madingly Road, Cambridge, England, 1979 to 1981.
Sidney Myer Music Bowl, by Yunken Freeman, architects with W. L. Irwin, engineers, at Melbourne, Australia, 1957.
Stansted Airport, by Norman Foster, at London, England, UK, 1991.
The Ark, by Ralph Erskine, at London, England, UK, 1990.
Tokyo International Forum, by Rafael Vinoly, at Tokyo, Japan, 1989 competition, completed 1996..
Blobitecture
Blobitecture from blob architecture, blobism or blobismus are terms for a movement in architecture in which buildings have an organic, amoeba-shaped, bulging form.[1] Though the term 'blob architecture' was in vogue already in the mid-1990s, the word blobitecture first appeared in print in 2002, in William Safire's "On Language" column in the New York Times Magazine in an article entitled Defenestration.[2] Though intended in the article to have a derogatory meaning, the word stuck and is often used to describe buildings with curved and rounded shapes.
Interactive architecture
Interactive architecture is a branch of architecture that specializes on interactivity between physical spaces and users, either for aesthetic or practical effect. One example is an energy-generating dance floor.
The Hyperbody Research Group from the Delft University of Technology, founded by professor Kas Oosterhuis, is recognized to be early in studying the subject.
A BLOG on the subject is interactivearchitecture.org, by Ruairi Glynn from Bartlett School of Architecture at the University College London. The blog "explores emerging practices within architecture that aim to merge digital technologies & virtual spaces with tangible and physical spatial experiences."
