ARTA 2

SPECIAL PROJECT

VILLAMOR, PAMELA LYNNE T. ARCH. ARIEL ALVAREZ TABANG JR.

BSA 4B PROFESSOR

RENAISSANCE ARCHITECTS

Michelozzo di Bartolommeo called Michelozzo Michelozz

Michelozzo di Bartolommeo called Michelozzo

Michelozzi (1396–1472). Florentine architect and

sculptor of the Early Renaissance, a contemporary of

Brunelleschi. He worked first with Ghiberti (1417–24) and

later with Donatello (c.1425–32), with whom he

designed and made a series of architectural funerary

monuments. Around 1427 he designed the loggia and

court for the Medici villa at Careggi, near Florence,

having already remodelled the villa at Trebbio (c.1422).

The influence of the essentials of Renaissance

architecture and Brunelleschi's work is clear from his

reconstruction of the cloister, refectory, cells, and

public rooms at the Church and Monastery of San

Marco, Florence (c.1437–52), including the light,

elegant, triple-aisled, vaulted library. Michelozzi's best-

known work is the enormous astylar Palazzo Medici (later Riccardi), Florence (1444–59),

which has the lowest storey faced with rock-faced rustication and pierced with arched

openings, channel-rusticated piano-nobile with regularly spaced semicircular Florentine

arches, and a top storey of smooth ashlar, the whole held down under a massive

cornicione. Behind this powerful exterior he designed an arcaded cortile (with echoes

of Brunelleschi's Foundling's Hospital) that was to be enormously influential. Michelozzo

was also responsible for the remarkable tribune in Santissima Annunziata, Florence

(1444–55), one of the first centrally planned domed spaces of the Renaissance, with a

polygonal plan off which are radiating apsidal chapels. Inspired by Brunelleschi's

unfinished Santa Maria degli Angeli, Florence (1434), it is even more strongly related to

the Antique Roman temple of ‘Minerva Medica’, of c. AD 250, and was completed by

Alberti. At Santa Maria delle Grazie, Pistoia (from 1452), he used the cross-in-square plan

of central and four subsidiary domed spaces.

Michelozzi was capomaestro of Florence Cathedral (1446–55) and supervised the

building of the lantern on the great dome. He designed the fortress-like villa at

Cafaggiolo, Mugello (c.1452), the much more elegant Villa Medici, Fiesole (c.1458–61),

remodelled the Palazzo Comunale, Montepulciano (1440), and designed the Hospital

of San Paolo dei Convalescenti, Florence (1459). Although he was credited with

introducing Florentine Brunelleschian ideas to Lombardy in the Portinari Chapel,

Sant'Eustorgio, Milan (1460s), based on the Old Sacristy in San Lorenzo, Florence, this

attribution is now rejected, as is his authorship of the Medici Bank, Milan.

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The Tomb of Antipope John XXIII is the marble-and-bronze tomb

monument of Antipope John XXIII (Baldassare Cossa, c. 1360–1419),

created by Donatello and Michelozzo for the Florence Baptistry

adjacent to the Duomo. It was commissioned by the executors of

Cossa's will after his death on December 22, 1419 and completed

during the 1420s, establishing it as one of the early landmarks of

Renaissance Florence. According to Ferdinand Gregorovius, the tomb

is "at once the sepulchre of the Great Schism in the church and the

last Papal tomb which is outside Rome itself".

The Tomb of Cardinal Rainaldo Brancacci (or Brancaccio) is a

sculptural work in the church of Sant'Angelo a Nilo in Naples, southern

Italy, executed by Donatello and Michelozzo around 1426-1428. Built

in marble, partly gilt and polychrome, it has a height of 11.60 meters

and a width of 4.60.

Palazzo dello Strozzino is a palazzo in Florence, Italy. was a residence

of the Strozzi family, older than the larger and more prestigious Palazzo

Strozzi. It was also called Palazzo delle Tre Porte for its three doorways.

The palace currently houses the Cinema Odeon, designed by

Marcello Piacentini, and the language school of the British Institute of

Florence.

San Girolamo is an Renaissance style church just outside of the

old walled city of Volterra, Italy. The church and attached

Franciscan convent, a complex also known as of San Girolamo

al Velloso, were designed by Michelozzo and construction was

completed by about 1445. Some have questioned the

attribution and even suggested that it was designed another

famous Florentine architect, Lorenzo Ghiberti.

Leon Battista Alberti

Leon Battista Alberti (1404-1472) was an Italian writer,

humanist, and architect. Through his theoretical

writings on painting, sculpture, and architecture, he

raised them from the level of the mechanical arts to

that of the liberal arts.

Leon Battista Alberti, as a scholar and philosopher

who moved in humanist circles in Florence and the

papal court in Rome, was involved in all the central

concepts of the Renaissance. He was concerned with

reforming his society and the arts in the image of

ancient Roman culture. Throughout most of his writings

the problem of man's relation to society is

fundamental.

The Rucellai Palace in Florence was begun by Alberti

about 1447 and completed in 1451. The facade has

three superimposed stories of classical pilasters. His first design for the facade was

probably square and had a single entrance portal, but Bernardo Rossellino, who

executed the building, lengthened the palace and constructed two portals, which

contradicted Alberti's architectural principles.

In 1450 Sigismondo Malatesta commissioned Alberti to refurbish the Gothic church of S.

Francesco at Rimini, later known as the Tempio Malatestiano. Alberti enclosed the

exterior in a classical envelope of arcades at the sides and a triumphal arch motif on

the facade. The great domed sanctuary, depicted in the foundation medal of 1450

and related, according to Alberti in a letter of 1454, to the Pantheon at Rome, was

never executed, as the building was left incomplete at the death of Sigismondo in 1466.

In 1450, under the aegis of Pope Nicholas V, a great building program for the city of

Rome was formulated, including additions to the Vatican Palace and the rebuilding of

St. Peter's and the portion of the city near the Vatican called the Leonine Borgo. Except

for some preliminary work at St. Peter's, this project was not carried out, but several

features of the urban plan and of the palace additions suggest at least the counsel of

Alberti.

Giovanni Rucellai, whose palace Alberti had designed, commissioned him in 1458 to

complete the facade of the great Gothic church of S. Maria Novella in Florence.

Limited by the medieval work of the lower part of the facade, Alberti created an

ingenious compromise design in the classical mode that harmonized with the earlier

portion. He also renovated the family chapel in S. Pancrazio for Rucellai and executed

the Shrine of the Holy Sepulcher for the chapel in 1467.

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The Tempio Malatestiano (Italian Malatesta Temple) is the

cathedral church of Rimini, Italy. Officially named for St.

Francis, it takes the popular name from Sigismondo

Pandolfo Malatesta, who commissioned its reconstruction

by the famous Renaissance theorist and architect Leon

Battista Alberti around 1450.

Palazzo Rucellai is a palatial 15th-century townhouse on the Via

della Vigna Nuova in Florence, Italy. The Rucellai Palace is believed

by most scholars to have been designed by Leon Battista Alberti

between 1446 and 1451 and executed, at least in part, by

Bernardo Rossellino. Its facade was one of the first to proclaim the

new ideas of Renaissance architecture based on the use of

pilasters and entablatures in proportional relationship to each other.

Basilica of Santa Maria Novella is a church in

Florence, Italy, situated just across from the main

railway station which shares its name.

Chronologically, it is the first great basilica in

Florence, and is the city's principal Dominican

church.

The church, the adjoining cloister, and chapterhouse

contain a store of art treasures and funerary

monuments. Especially famous are frescoes by

masters of Gothic and early Renaissance. They were

financed through the generosity of the most

important Florentine families, who ensured themselves of funerary chapels on

consecrated ground.

Filippo Brunelleschi

Filippo Brunelleschi was one of the leading

architects and engineers of the Italian

Renaissance, and is best known for his work

on the Cathedral of Santa Maria del Fiore

(the Duomo) in Florence.

Born in 1377 in Florence, Italy, Filippo

Brunelleschi was an architect and engineer,

and one of the pioneers of early

Renaissance architecture in Italy. He was

the first modern engineer and an innovative

problem solver, building his major work, the

dome of the Cathedral of Santa Maria del

Fiore (the Duomo) in Florence, with the aid

of machines that he invented specifically

for the project

Brunelleschi's disappointment at losing the

baptistery commission might account for his decision to concentrate his talents on

architecture instead of sculpture, but little biographical information is available about

his life to explain the transition. (He continued to sculpt, but architecture was the

dominant thread in his professional career.) Also unexplained is Brunelleschi's sudden

transition from his training in the Gothic or medieval manner to the new architectural

classicism.

Perhaps he was simply inspired by his surroundings, since it was in this period (1402-1404)

that Brunelleschi and his good friend and sculptor Donatello purportedly visited Rome

to study the ancient ruins.

Donatello, nine years Brunelleschi's junior, had also trained to be a goldsmith. After his

training, he even worked in Lorenzo Ghiberti’s studio. In times past, writers and

philosophers had discussed the grandeur and decline of ancient Rome, but it seems

that until Brunelleschi and Donatello made their journey, no one had studied the

physical presence of Rome's ruins in detail. Although Donatello remained a sculptor, the

trip seems to have had a profound effect on Brunelleschi, and he turned firmly and

permanently to architecture in the following decade.

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The dome of Santa Maria del Fiore

In 1418 Brunelleschi entered a new competition against

Ghiberti to submit a model for the dome of Santa Maria

del Fiore. Brunelleschi won the contest in 1420 with a

proposal to erect the dome without wooden centering.

The Ospedale degli Innocenti is a historical

building in Florence, Italy. Designed by Filippo

Brunelleschi, who received the commission in 1419

from the Arte della Lana. It was originally a

children's orphanage. It is regarded as a notable

example of early Italian Renaissance architecture. The hospital, which features a nine

bay loggia facing the Piazza SS. Annunziata, was built and managed by the "Arte della

Seta" or Silk Guild of Florence. That guild was one of the wealthiest in the city and, like

most guilds, took upon itself philanthropic duties

Donato Bramante

The Italian architect and painter Donato Bramante

(1444-1514) was the first High Renaissance architect. He

transformed the classical style of the 15th century into

a grave and monumental manner, which represented

the ideal for later architects.

In the first decade of the 16th century Donato

Bramante was the chief architect in Rome, which had

just replaced Florence as the artistic capital of Europe

because the patronage of Pope Julius II (reigned 1503-

1513) attracted all the leading Italian artists to that city.

It is particularly the triumvirate of artists—Michelangelo

the sculptor and painter, Raphael the painter, and

Bramante the architect— who dominated this period,

usually called the High Renaissance, and whose

influence overwhelmed the following generations.

Donato di Pascuccio d'Antonio, called Bramante, was

born in 1444 at Monte Asdruvaldo near Urbino. Nothing is known of the first 30 years of

his life. During that period, however, the court of Federigo da Montefeltro at Urbino was

a flourishing humanistic and cultural center, attended by artists such as Piero della

Francesca, Melozzo da Forll, and Luciano Laurana, who probably influenced the young

Bramante. The first notice of Bramante dates from 1477, when he decorated the

facade of the Palazzo del Podestàat Bergamo with a frescoed frieze of philosophers.

Lombard Style

In 1481 the engraver Bernardo Previdari issued at Milan a print after a design by

Bramante, who had settled there about that time. The major interest of the engraving,

which depicts the interior of a partially ruined church, is the careful perspective

delineation of the architectural interior. Shortly thereafter Bramante entered into the

service of the Sforza rulers of Lombardy as court architect. His first important commission

was the reconstruction, beginning in 1482, of the church of S. Maria presso S. Satiro in

Milan. As it was a basilica church with transept and dome over the crossing, there was

not enough space for a deep choir. Through the ingenious use of sculptural and

painted relief in perspective, Bramante feigned a choir. He also built a tall, octagonal

sacristy richly decorated in the North Italian manner with relief sculpture covering even

the shafts of the classical orders. Bramante also continued to paint, executing frescoes

of armed men for the Casa Panigarola and the panel painting Christ at the Column.

In 1488 Bramante was called as consultant to the architects Amadeo and Cristoforo

Rocchi for the building of the Cathedral of Pavia, but in 1492 he withdrew from the

project with only the crypt completed. Meanwhile in 1490 he submitted an opinion on

the project to complete the tiburio, or great crossing vault, of the Gothic Cathedral of

Milan, in which he advocated a design conforming to the past style. Although there is

no documentary proof, he presumably designed the large, square tribune with apsidal

arms added to the Gothic church of S. Maria delle Grazie in Milan, beginning the work

in 1492. The interior was made spacious and monumental, and the exterior was

completed in the decorative Lombard style. At the same time Bramante began the

Canons' Cloister of S. Ambrogio in Milan, whose southern wing alone was built; in 1497

he planned four more cloisters there, of which only the Doric and Ionic Cloisters were

completed in the 16th century.

During 1493 Bramante was briefly and mysteriously absent from Milan, as letters of Duke

Lodovico Sforza seeking him in Florence and Rome indicate, but Bramante soon

returned to the ducal seat at Vigevano. He also wrote some sonnets at this time, which

are preserved in a manuscript dated 1497.

Early Roman Style

When the French captured Milan in September 1499 Bramante fled to Rome, where he

frescoed the arms of Pope Alexander VI at St. John Lateran, in preparation for the Holy

Year of 1500, and explored the Roman antiquities. The impact of the ancient

monuments is evident in his cloister of S. Maria della Pace in Rome (1500-1504). The

simple gravity and monumentality of the small square court marks a distinct break with

the Lombard style and foreshadows the new classicism of High Renaissance Rome. The

ground-floor arcade is supported on piers with engaged Ionic pilasters; the upper floor

alternates Corinthian columns and piers bearing an architrave.

The tiny circular Tempietto at S. Pietro in Montorio, in Rome (1502), with a Doric

colonnade surrounding a small cella closed by a semicircular dome on a tall drum,

represents the perfection of Bramante's Roman style. The architect intended the chapel

to stand in the center of a circular, colonnaded court to emphasize its self-containment

and centralization, but the court was never executed. The church of S. Maria della

Consolazione (1504-1617) at Todi, probably executed after Bramante's design, is

likewise centralized, being square with semicircular apses. The mass is built up of simple

geometric forms capped by a drum and dome. The interior is characterized by a sense

of quiet, harmonious spaciousness.

Papal Architecture and Late Works

With the election of Pope Julius II in 1503 Bramante soon became the papal architect,

and he did extensive work in the Vatican Palace and began rebuilding St. Peter's. The

tremendous Belvedere Court of the Palace (begun in 1503) was terraced up a hillside

on three levels joined by monumental stairs and defined by arcaded loggias with

superimposed orders. The lower terrace was to serve as a theater. Completed with

many revisions in the late 16th century, it is now altered almost beyond recognition.

Nearby is a spiral, ramped staircase (begun before 1512) that provides access to the

statue court beyond the Belvedere Court. As a new facade for the Vatican Palace,

Bramante designed a series of superimposed loggias (1509-1518), later converted into

the Court of S. Damaso. Completed by Raphael, there are two superimposed arcades

with Tuscan and Ionic pilasters and above them a colonnade of the Composite order.

In 1505 Bramante prepared a plan for the New St. Peter's which called for a centralized

Greek cross with a large dome on a colonnaded drum at the crossing, four smaller

domes, and corner towers. When the Greek cross plan was not accepted, he planned

to lengthen one arm to form a nave and to add ambulatories in the apsidal arms. The

foundation stone was laid in April 1506, but at the time of his death Bramante had

erected only the four main piers and the arches which were to support the dome.

Bramante accompanied the Pope on the military campaigns to Bologna in 1506 and in

1510, and during the latter campaign he is reported to have entertained the Pope

every evening with his commentary on the writings of Dante. In 1513 the Pope

bestowed the office of Piombatore, or sealer of the papal briefs, on him. Bramante

planned a huge palace on the Via Giulia for the papal courts of justice. It was begun in

1509, but with the death of the Pope in 1513 the work was abandoned, leaving only a

few massive, rusticated blocks of the ground floor.

Bramante's last work was probably the Palazzo Caprini (after 1510; destroyed). It had a

rusticated ground floor with shops and an upper story with coupled Doric half columns.

Owned later by Raphael, it became the prototype for numerous palaces, especially in

northern Italy, by Michele Sanmicheli, Giulio Romano, and Andrea Palladio. Bramante

died on March 11, 1514, and was buried in Old St. Peter's.

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The Church of San Pietro in Montorio was built on the site

of an earlier 9th-century church dedicated to Saint

Peter on Rome's Janiculum hill. According to tradition, it

was the site of his crucifixion.

In the 15th century, the ruins were given to the Amadist

friars, a reform branch of the Franciscans, founded by

the Blessed Amadeus of Portugal, who served as

confessor to Pope Sixtus IV from 1472. Commissioned by

Ferdinand and Isabella of Spain.

It is a titular church, whose current title holder, since 1 March 2008, is Cardinal James

Francis Stafford.

Santa Maria presso San Satiro is a church of Milan.

The church lies on the site of a primitive worship place erected

by the archbishop Anspertus in 879, dedicated to Saint Satyrus,

confessor and brother of Saints Ambrose and Marcellina. The

current church was instead built from 1472 to 1482 under

commission from Duke Galeazzo Maria Sforza. According to

some sources, the designer was Donato Bramante, who had

recently moved from the Marche. However, recent

documents prove that Bramante had a minor role, most of the

work being attributable to Giovanni Antonio Amadeo, who

designed the façade. Certainly from Bramante is the sacristy

perspective.

St. Peter's Basilic) is a Late Renaissance church

located within Vatican City.

Designed principally by Donato Bramante,

Michelangelo, Carlo Maderno and Gian Lorenzo

Bernini, St. Peter's is the most renowned work of

Renaissance architecture[1] and remains one of the

largest churches in the world.[2] While it is neither the

mother church of the Catholic Church nor the

Catholic Roman Rite cathedral of the Diocese of

Rome, St. Peter's is regarded as one of the holiest

Catholic sites. It has been described as "holding a unique position in the Christian

world"[3] and as "the greatest of all churches of Christendom".

Antonio da Sangallo was born in Florence in 1483. Trained by his uncles, Giuliano da

Sangallo and Antonio da Sangallo the Elder (1455-1534), he joined the family design,

engineering and sculpture business. In 1503 he accompanied Giuliano to Rome where

he remained and enjoyed the patronage of several popes.

Sangallo succeeded Raphael as master of works on St. Peter's Basilica in 1520. The

efficient infrastructure of the Sangallo business allowed him to take on commissions for a

large number of clients while he continued to devote a large portion of his energies on

St. Peter's.

Although Sangallo was often viewed as more of a builder and engineer than an artist,

he resisted the "mannerism" with which so many of his contemporaries attempted to

emulate Michelangelo.

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Palazzo Baldassini is a palace in Rome, Italy,

designed by the Renaissance architect

Antonio da Sangallo the Younger in about

1516-1519. It was designed for the papal

jurist from Naples, Melchiorre Baldassini. The

ground floor was used for shops or

workshops, and the piano nobile consisted

of private apartments.

Santa Maria di Loreto is a 16th-century church in Rome,

central Italy, located just across the street from the

Trajan's Column, near the giant Monument of Vittorio

Emanuele II.

Raffaello Sanzio da Urbino

A leading figure of Italian High Renaissance

classicism, Raphael is best known for his

"Madonnas," including the Sistine Madonna, and

for his large figure compositions in the Palace of

the Vatican in Rome.

By 1514, Raphael had achieved fame for his work

at the Vatican and was able to hire a crew of

assistants to help him finish painting frescoes in the

Stanza dell’Incendio, freeing him up to focus on

other projects. While Raphael continued to accept

commissions -- including portraits of popes Julius II and Leo X -- and his largest painting

on canvas, The Transfiguration (commissioned in 1517), he had by this time begun to

work on architecture. After architect Donato Bramante died in 1514, the pope hired

Raphael as his chief architect. Under this appointment, Raphael created the design for

a chapel in Sant’ Eligio degli Orefici. He also designed Rome’s Santa Maria del Popolo

Chapel and an area within Saint Peter’s new basilica.

Raphael’s architectural work was not limited to religious buildings. It also extended to

designing palaces. Raphael’s architecture honored the classical sensibilities of his

predecessor, Donato Bramante, and incorporated his use of ornamental details. Such

details would come to define the architectural style of the late Renaissance and early

Baroque periods.

Michelangelo di Lodovico Buonarroti Simoni

Michelangelo is widely regarded as the most famous

artist of the Italian Renaissance. Among his works are

the "David" and "Pieta" statues and the Sistine Chapel

frescoes.

Several commissions followed, including an ambitious

project for the tomb of Pope Julius II, but that was

interrupted when he asked Michelangelo to switch

from sculpting to painting to decorate the ceiling of

the Sistine Chapel.

The project fueled Michelangelo’s imagination, and

the original plan for 12 apostles morphed into more

than 300 figures on the ceiling of the sacred space.

(The work later had to be completely removed soon

after due to an infectious fungus in the plaster, and then recreated.) Michelangelo fired

all of his assistants, whom he deemed inept, and completed the 65-foot ceiling alone,

spending endless hours on his back and guarding the project jealously until revealing

the finished work, on October 31, 1512.

The resulting masterpiece is a transcendent example of High Renaissance art

incorporating the Christian symbology, prophecy and humanist principles that

Michelangelo had absorbed during his youth. The vivid vignettes of Michelangelo's

Sistine ceiling produce a kaleidoscope effect, with the most iconic image being the

"Creation of Adam," a portrayal of God touching the finger of man. Rival Roman

painter Raphael evidently altered his style after seeing the work.

Although he continued to sculpt and paint throughout his life, the physical rigor of

painting the chapel had taken it’s toll on Michelangelo, and he soon turned his focus

toward architecture.

Michelangelo continued to work on the tomb of Julius II for the next several decades.

He also designed the Medici Chapel and the Laurentian Library—located opposite the

Basilica San Lorenzo in Florence—to house the Medici book collection. These buildings

are considered a turning point in architectural history. But Michelangelo's crowning

glory in this field came when he was made chief architect of St. Peter's Basilica in 1546.

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The Medici Chapels (Cappelle medicee)

are two structures at the Basilica of San

Lorenzo, Florence, Italy, dating from the 16th

and 17th centuries, and built as extensions

to Brunelleschi's 15th-century church, with

the purpose of celebrating the Medici family,

patrons of the church and Grand Dukes of

Tuscany. The Sagrestia Nuova, ("New

Sacristy"), was designed by Michelangelo.

The larger Cappella dei Principi, ("Chapel of

the Princes"), though proposed in the 16th

century, was not begun until the early 17th

century, its design being a collaboration between the family and architects.

The Capitoline Hill ,between the Forum and the

Campus Martius, is one of the seven hills of Rome.

It was the citadel (equivalent of the ancient

Greek acropolis) of the earliest Romans. By the

16th century, Capitolinus had become Capitolino

in Italian, with the alternative Campidoglio

stemming from Capitolium, one of the three

major spurs of the Capitolinus (the others being

Arx and Tarpeius). The English word capitol

derives from Capitoline. The Capitoline contains

few ancient ground-level ruins, as they are almost

entirely covered up by Medieval and

Renaissance palaces (now housing the

Capitoline Museums) that surround a piazza, a

significant urban plan designed by Michelangelo.

MODERN ARCHITECTS

Frank Lloyd Wright

Frank Lloyd Wright has been called America's most

famous architect. During his 70-year career, Wright

designed 1,141 buildings, including homes, offices,

churches, schools, libraries, bridges, and museums.

Five hundred and thirty-two of these designs were

completed, and 409 still stand.

Leaving school after a few semesters, Frank Lloyd

Wright apprenticed with J.L. Silsbee and eventually

with Louis Sullivan.

After working with Adler and Sullivan for several

years, Sullivan discovered that Wright was

designing houses outside the office's work. Frank Lloyd Wright split from Sullivan and

opened his own practice in 1893.

Frank Lloyd Wright never attended architecture school, but working with blocks while in

the Froebel Kindergarten must have whetted his appetite for building. Now called

Anchor Blocks, these German Toys for the Budding Builder are still available.

As a child, Wright worked on his uncle's farm in Wisconsin, and he later described

himself as an American primitive - an innocent but clever country boy whose education

on the farm made him more perceptive and more down-to-earth.

Frank Lloyd Wright pioneered a long, low style known as the Prairie house. He

experimented with obtuse angles and circles, creating unusually shaped structures such

as the spiral Guggenheim Museum (1943-49). He developed a series of low-cost homes

that he called Usonian. And most importantly, Frank Lloyd Wright changed the way we

think of interior space. See Frank Lloyd Wright Interiors — The Architecture of Space for

examples.

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Fallingwater may look like a loose pile of concrete

slabs about to topple into the stream... but there is

no danger of that! The slabs are actually anchored

through the stonework of the hillside. Also, the

largest and heaviest portion of the house is at the

rear, not over the water. And, finally, each floor has

its own support system.

When you enter the recessed front door of

Fallingwater, your eye is first drawn to a far corner, where a balcony overlooks the

waterfall. To the right of the entryway, there is a dining alcove, a large fireplace, and

stairs leading to the upper story. To the left, groups of seating offer scenic views.

The very first Prairie House designed by Frank

Lloyd Wright resulted from his "moonlighting."

Wright's bootleg homes—the residences he

built while still working at Adler & Sullivan in

Chicago—were traditional Victorian styles of

the day. These Pre-1900 Queen Anne Styles

were a source of frustration to the young

architect. By 1893 a twenty-something

Wright had parted ways with Louis Sullivan

and embarked on his own practice and his

own designs.

Wright yearned to build what he considered a "sensible house," and a client named

Herman Winslow gave Wright the opportunity. "I was not the only one then sick of

hypocrisy and hungry for reality," Wright has said. "Winslow was something of an artist

himself, sick of it all."

Frank Lloyd Wright created the

Guggenheim Museum as a series

of organic shapes. Circular forms

spiral down down like the interior

of a nautilus shell. Visitors to the

museum begin on the upper level

and follow a sloping ramp

downward through connected

exhibition spaces. At the core, an open rotunda offers views of artwork on several levels.

Frank Lloyd Wright, who was known for his self-assurance, said that his goal was to

"make the building and the painting an uninterrupted, beautiful symphony such as

never existed in the World of Art before."

Louis Sullivan

Louis Sullivan is widely considered America's first truly modern

architect. Instead of imitating historic styles, he created original

forms and details. Older architectural styles were designed for

buildings that were wide, but Sullivan was able to create

aesthetic unity in buildings that were tall.

Sullivan's designs often used masonry walls with terra cotta

designs. Intertwining vines and leaves combined with crisp

geometric shapes. This Sullivanesque style was imitated by other

architects, and his later work formed the foundation for the

ideas of his student, Frank Lloyd Wright.

Louis Sullivan believed that the exterior of an office building

should reflect its interior structure and its interior functions. Ornament, where it was used,

must be derived from Nature, instead of from classical architecture of the past. The

work of Louis Sullivan is often associated with the Art Nouveau movement in

architecture.

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Designed by one of the most important architects of

the 19th century, Louis Sullivan of Chicago, the

building reflects the optimism and prosperity of the

United States at the time. Architectural historians

consider the Guaranty Building one of the greatest

architectural achievements in office buildings by

Louis Sullivan.

WAINWRIGHT BUILDING

Named after Missouri brewer Ellis

Wainwright, the Wainwright Building

revolutionized American architecture. To

empathize the height, architect Louis

Sullivan used a three-part composition:

The first two stories are unornamented

brown sandstone with large, deep

windows.

The next seven stories are uninterrupted

red brick. Between the piers are

horizontal panels decorated with leaf

ornamentation.

The top story is decorated with round

windows and terra cotta leaf scroll

ornaments inspired by the Notre-Dame

de Reims in France.

Le Corbusier

Le Corbusier was a Swiss-born French architect

who belonged to the first generation of the so-

called International school of architecture.

Le Corbusier was born Charles-Edouard

Jeanneret-Gris in Switzerland on October 6,

1887. In 1917, he moved to Paris and assumed

the pseudonym Le Corbusier. In his architecture,

he chiefly built with steel and reinforced

concrete and worked with elemental

geometric forms. Le Corbusier's painting

emphasized clear forms and structures, which corresponded to his architecture.

These trips played a pivotal role in Le Corbusier’s education. He made three major

architectural discoveries. In various settings, he witnessed and absorbed the

importance of (1) the contrast between large collective spaces and individual

compartmentalized spaces, an observation that formed the basis for his vision of

residential buildings and later became vastly influential; (2) classical proportion via

Renaissance architecture; and (3) geometric forms and the use of landscape as an

architectural tool.

In 1912, Le Corbusier returned to La Chaux-de-Fonds to teach alongside L’Eplattenier

and to open his own architectural practice. He designed a series of villas and began to

theorize on the use of reinforced concrete as a structural frame, a thoroughly modern

technique.

Le Corbusier began to envisage buildings designed from these concepts as affordable

prefabricated housing that would help rebuild cities after World War I came to an end.

The floor plans of the proposed housing consisted of open space, leaving out

obstructive support poles, freeing exterior and interior walls from the usual structural

constraints. This design system became the backbone for most of Le Corbusier’s

architecture for the next 10 years.

NOTABLE WORKS

The Unité d'habitation is the name of a modernist

residential housing design principle developed

by Le Corbusier, with the collaboration of

painter-architect Nadir Afonso. The concept

formed the basis of several housing

developments designed by him throughout

Europe with this name. The most famous of these

developments is located in south Marseille.

Villa Savoye is a modernist villa in

Poissy, in the outskirts of Paris,

France. It was designed by Swiss

architects Le Corbusier and his

cousin, Pierre Jeanneret, and built

between 1928 and 1931 using

reinforced concrete.

A manifesto of Le Corbusier's "five

points" of new architecture, the villa

is representative of the bases of

modern architecture, and is one of the most easily recognizable and renowned

examples of the International style.

Ludwig Mies van der Rohe

Believing that less is more, Mies van der

Rohe designed rational, minimalist

skyscrapers that set the standard for

modernist design.

The United States has a love-hate

relationship with Mies van der Rohe. Some

say that he stripped architecture of all

humanity, creating cold, sterile and

unlivable environments. Others praise his

work, saying he created architecture in its

most pure form.

Ludwig Mies van der Rohe began his career in his family stone-carving business in

Germany. He never received any formal architectural training, but when he was a

teenager he worked as a draftsman for several architects. Moving to Berlin, he found

work in the offices of architect and furniture designer Bruno Paul and industrial architect

Peter Behrens.

Early in his life, Mies van der Rohe began experimenting with steel frames and glass

walls. He was director of the Bauhaus School of Design from 1930 until it disbanded in

1933. He moved to the United States in 1937 and for twenty years (1938-1958) he was

Director of Architecture at the Illinois Institute of Technology.

Mies van der Rohe taught his taught students at IIT to build first with wood, then stone,

and then brick before progressing to concrete and steel. He believed that architects

must completely understand their materials before they can design.

Mies van der Rohe was not the first architect to practice simplicity in design, but he

carried the ideals of rationalism and minimalism to new levels. His glass-walled

Farnsworth House near Chicago stirred controversy and legal battles. His bronze and

glass Seagram Building in New York City (designed in collaboration with Philip Johnson)

is considered America's first glass skyscraper. And, his philosophy that "less is more"

became a guiding principle for architects in the mid-twentieth century.

Skyscrapers around the world are modeled after designs by Mies van der Rohe.

NOTABLE WORKS

S. R. Crown Hall, designed by the German

Modernist architect Ludwig Mies van der Rohe, is

the home of the College of Architecture at the

Illinois Institute of Technology in Chicago, Illinois.

The Farnsworth House was designed and

constructed by Ludwig Mies van der Rohe

between 1945-51. It is a one-room weekend

retreat in a once-rural setting, located 55 miles

(89 km) southwest of Chicago's downtown on a

60-acre (24 ha) estate site, adjoining the Fox

River, south of the city of Plano, Illinois. The steel

and glass house was commissioned by Dr. Edith Farnsworth, a prominent Chicago

nephrologist, as a place where she could engage in her hobbies: playing the violin,

translating poetry, and enjoying nature. Mies created a 1,500-square-foot (140 m2)

house that is widely recognized as an iconic masterpiece of International Style of

architecture. The home was designated a National Historic Landmark in 2006, after

joining the National Register of Historic Places in 2004. The house is currently owned and

operated as a house museum by the historic preservation group, National Trust for

Historic Preservation.

The Seagram Building is a skyscraper, located at 375 Park

Avenue, between 52nd Street and 53rd Street in Midtown

Manhattan, New York City. The structure was designed by

German architect Ludwig Mies van der Rohe while the

lobby and other internal aspects were designed by Philip

Johnson, including The Four Seasons and Brasserie

restaurants. Severud Associates were the structural

engineering consultants.

POST-MODERN ARCHITECT

Philip Johnson

Philip Johnson was a museum director,

writer, and, most notably, an architect

known for his unconventional designs. His

work embraced many influences, from the

neoclassicism of Karl Friedrich Schinkel and

to the modernism of Ludwig Mies van der

Rohe.

After graduation from Harvard in 1930,

Philip Johnson became the first Director of

the Department of Architecture at the

Museum of Modern Art, New York (1932-

1934 and 1945-1954). He coined the term

International Style and introduced the work

of modern European architects such as Ludwig Mies van der Rohe and Le Corbusier to

America. He would later collaborate with Mies van der Rohe on what is considered the

most superb skyscraper in North America, the Seagram Building in New York City (1958).

Johnson returned to Harvard University in 1940 to study architecture under Marcel

Breuer. For his master degree thesis, he designed a residence for himself, the now

famous Glass House (1949), which has been called one of the world's most beautiful

and yet least functional homes.

Philip Johnson's buildings were luxurious in scale and materials, featuring expansive

interior space and a classical sense of symmetry and elegance. These same traits

epitomized corporate America's dominant role in world markets in prominent

skyscrapers for such leading companies as AT&T (1984), Pennzoil (1976) and Pittsburgh

Plate Glass Company (1984).

In 1979, Philip Johnson was honored with the first Pritzker Architecture Prize in recognition

of "50 years of imagination and vitality embodied in a myriad of museums, theaters,

libraries, houses, gardens and corporate structures."

NOTABLE WORKS

The Crystal Cathedral is a church building

in Garden Grove, Orange County,

California, in the United States. The

reflective glass building, designed by

American architect Philip Johnson, was

completed in 1981 and seats 2,736 people.

The largest glass building in the world,[ it has

one of the largest musical instruments in the

world, the Hazel Wright Memorial organ.

Until 2013, the building had been the

principal place of worship for Crystal

Cathedral Ministries, a congregation of the

Reformed Church in America founded in 1955 by Robert H. Schuller. Crystal Cathedral

Ministries filed for bankruptcy in October 2010 and in February 2012 sold the building

and its adjacent campus to the Roman Catholic Diocese of Orange for use as the

diocese's new cathedral. The building, especially the interior sanctuary, is currently

being renovated to accommodate the Roman Catholic liturgy and is due to re-open in

2016, at which time it is expected to be consecrated and formally renamed Christ

Cathedral and become the seat of the Diocese of Orange.

PPG Place is a complex in downtown Pittsburgh,

Pennsylvania, consisting of six buildings within three city blocks

and five and a half acres. Named for its anchor tenant, PPG

Industries, who initiated the project for its headquarters, the

buildings are all of matching glass design consisting of 19,750

pieces of glass.

The Glass House or Johnson house, built in 1949

in New Canaan, Connecticut, was designed by

Philip Johnson as his own residence, and

"universally viewed as having been derived from"

the Farnsworth House design, according to Alice

T. Friedman. Johnson curated an exhibit of Mies

van der Rohe work at the Museum of Modern Art

in 1947, featuring a model of the glass Farnsworth

House.

Robert Venturi

Husband and wife team Robert Venturi and

Denise Scott Brown are known for

architecture steeped in popular symbolism.

Kitsch becomes art in designs which

exaggerate or stylize cultural icons.

Robert Venturi is known for incorporating

stylized cultural icons into his buildings. For

example, there's a playful retro look to the

Celebration, Florida bank building designed

by Venturi, Scott Brown and Associates.

Molded to fit the shape of the street corner

it occupies, the bank resembles a 1950s-era

gas station or hamburger restaurant.

However, Venturi, Scott Brown and

Associates is recognized for much more

than Postmodernist designs. Based in Philadelphia, PA, the firm has completed more

than 400 projects, each uniquely suited to the special needs of the clients.

Venturi was awarded the Pritzker Prize in Architecture in 1991; the prize was awarded to

him alone, despite a request to include his equal partner Denise Scott Brown. A group

of women architects attempted to get her name added retroactively to the prize, but

the Pritzker Prize jury declined to do so. Venturi is also known for coining the maxim "Less

is a bore", a postmodern antidote to Mies van der Rohe's famous modernist dictum "Less

is more". Venturi lives in Philadelphia with Denise Scott Brown.

The architecture of Robert Venturi, although perhaps not as familiar today as his books,

helped redirect American architecture away from a widely practiced, often banal,

modernism in the 1960s to a more exploratory design approach that openly drew

lessons from architectural history and responded to the everyday context of the

American city. Venturi's buildings typically juxtapose architectural systems, elements

and aims, to acknowledge the conflicts often inherent in a project or site. This "inclusive"

approach contrasted with the typical modernist effort to resolve and unify all factors in

a complete and rigidly structured—and possibly less functional and more simplistic—

work of art. The diverse range of buildings of Venturi's early career offered surprising

alternatives to then current architectural practice, with "impure" forms (such as the

North Penn Visiting Nurses Headquarters), apparently casual asymmetries (as at the

Vanna Venturi House), and pop-style supergraphics and geometries (for instance, the

Lieb House).

NOTABLE WORKS

The Vanna Venturi House, one of the first

prominent works of the postmodern architecture

movement, is located in the neighborhood of

Chestnut Hill in Philadelphia, Pennsylvania. It was

designed by architect Robert Venturi for his

mother Vanna Venturi, and constructed

between 1962 -1964.The house was sold in 1973

and remains a private residence. The house is

not open to the public.

Guild House is a residential building in Philadelphia,

Pennsylvania, which is an important and influential

work of 20th-century architectureand was the first

major work by Robert Venturi. Along with the

Vanna Venturi House it is considered to be one of

the earliest expressions of Postmodern architecture,

and helped establish Venturi as one of the leading

architects of the 20th century.

The Seattle Art Museum (commonly known as "SAM") is

an art museum located in Seattle, Washington, USA. It

maintains three major facilities: its main museum in

downtown Seattle; the Seattle Asian Art Museum

(SAAM) in Volunteer Park on Capitol Hill, and the

Olympic Sculpture Park on the central Seattle

waterfront, which opened on January 20, 2007.

Admission to the sculpture park is always free.

Admission to the other facilities is free on the first

Thursday of each month; SAM also offers free

admission the first Saturday of the month. And even

the normal admission is suggested, meaning that the

museum would like visitors to pay the complete

admission but if they cannot pay fully they can still

enjoy the museum.

Frank Gehry

Inventive and irreverent, Frank Gehry has

been surrounded by controversy for most of

his career. Using unorthodox materials like

corrugated metal and chain link, Gehry

creates unexpected, twisted forms that

break conventions of building design. His

work has been called radical, playful,

organic, and sensual.

Buildings: Frank Gehry established his Los

Angeles practice in 1962. Early in his career,

he designed houses inspired by modern

architects such as Richard Neutra and Frank

Lloyd Wright. Gehry's admiration of Louis Kahn's work influenced his 1965 box-like design

of the Danziger House, a studio/residence for designer Lou Danziger. With this work,

Gehry began to be noticed as an architect. As his career expanded, Gehry became

known for massive, iconoclastic projects that attracted attention and controversy.

Many of Gehry's buildings have become tourist attractions, drawing visitors from around

the world.

Furniture: Gehry had success in the 1970s with his line of Easy Edges chairs made from

bent laminated cardboard. By 1991, Gehry was using bent laminated maple to

produce the Power Play Armchair. These designs are part of the Museum of Modern Art

(MoMA) collection in NYC.

Memorials: The Eisenhower Memorial Commission chose Frank Gehry's design for the

Washington, D.C. memorial honoring Dwight D. Eisenhower's command of the Allied

Forces in Europe in World War II and as the 34th President of the United States.

Gehry Designs: Because architecture takes so long to become realized, Gehry often

turns to the "quick fix" of designing smaller products, including jewelry, trophies, and

even liquor bottles. From 2003 to 2006 Gehry's partnership with Tiffany & Co. released

the exclusive jewelry collection that included the sterling silver Torque Ring. In 2004 the

Canada-born Gehry designed a trophy for the international World Cup of Ice Hockey

tournament. Also in 2004, the Polish side of Gehry designed a twisty vodka bottle for

Wyborowa Exquisite, also of Polish descent (see PDF product marketing).

In 1988, the Museum of Modern Art (MoMA) in New York City used Gehry's Santa

Monica house as an example of a new architecture they called deconstructivism.

Deconstruction breaks down the parts of a piece so their organization appears

disorganized and chaotic. Unexpected details and building materials tend to create a

visual disorientation and disharmony.

NOTABLE WORKS

The Guggenheim Museum Bilbao is a

museum of modern and contemporary art,

designed by Canadian-American architect

Frank Gehry, and located in Bilbao, Basque

Country, Spain. The museum was

inaugurated on October 18, 1997, by the

past King Juan Carlos I of Spain. Built

alongside the Nervion River, which runs

through the city of Bilbao to the Cantabrian

Sea, it is one of several museums belonging to the Solomon R. Guggenheim Foundation

and features permanent and visiting exhibits of works by Spanish and international

artists.

The Dancing House or Fred and Ginger is the

nickname given to the Nationale-Nederlanden

building in Prague, Czech Republic, at Rašínovo

nábřeží (Rašín's riverbank). It was designed by the

Croatian-Czech architect Vlado Milunić in co-

operation with Canadian-American architect Frank

Gehry on a vacant riverfront plot. The building was

designed in 1992 and completed in 1996.

The very non-traditional design was controversial at

the time because the house stands out among the

Baroque, Gothic and Art Nouveau buildings for

which Prague is famous and in the opinion of some it

does not accord well with these architectural styles.

The then Czech president, Václav Havel, who lived

for decades next to the site, had avidly supported

this project, hoping that the building would become

a center of cultural activity.