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Use Cases
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Resources
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Pricing
1849
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John Ruskin
Architectural Deceits come in 3 forms:
Suggestion of structure
Painting of surfaces
The use of cast or machine-made ornaments
1880
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Ebenezer Howard:
3 Magnets - Town, Country, and Town-Country
Raymond Unwin + Barry Parker did the arch
When the population exceeded 32,000 a new city would be formed
1890
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Jacob Riis:
Documented the dismal living conditions in NYC tenaments.
NYC tried to help with ordinances, but was met with resistance by everyone involved
1892
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Louis Sullivan:
Ornament is OK, as long as it is integrated into the design process from the beginning.
1896
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Louis Sullivan:
Form ever follows function.
Came up with the model skyscraper.
1903
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Henry van de Velde:
Use materials how they are meant to be used.
People need to be both artists and rational thinkers.
1906
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Hans Poelzig:
Don't forget about the past but move on to the future in an educated way.
Adapting older structures is ok.
Progress can't be forced, but must come on its own.
1910
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Frank Lloyd Wright:
Buildings, furnishings, and environments are all part of the building.
All parts of the building work together
1910
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Adolf Loos:
Ornament is primitive and not economical.
We as a civilization have outgrown ornament.
1911
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Hermann Muthesius:
The Arts and Crafts movement has given a new shape to buildings
Modern buildings are brutal and lack culture
1914
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Marinetti & Sant'Ella:
Endorses technology, proper material use, and reasoned plan
Rejects old buildings, classical forms, and using new materials to emulate old ones.
1914
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Muthesius & Van de Velde:
Muthesius - standardise the new styles
Van de Velde - standardization should not happen
1918
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Bruno Taut:
Architecture should be the driving force behind the betterment of humanity
All public buildings should be picked by anonymous competitions
1918
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De Stijl
The old focuses on the individual & the new focuses on the universal
Traditions, dogmas, and individual pride get in the way of progress
1919
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Gropius/Taut/Behne
Architecture is the expression of man's noblest thoughts
Gothic arch. is the pinnacle of architecture
Exhibitions are good Things
1919
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Walter Gropius:
Ultimate aim of all visual arts is the complete building
Art can't be taught but individual crafts can be
Collaboration between arch. and other disciplines required
1919
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Erich Mendelsohn:
Glass, iron, and concrete provide new opportunities for new forms
New arch. shouldn't draw inspiration from history, but rather from its own vision of space
1919
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Group formed to "liberate" art and provide it to the masses
Arch. should be an ally to the other arts
Museums should be available to the public
1920
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Naum Gabo/Antoine Pevsner:
Reject solid mass, color, decoration
Buildings should not be plastic, but should convey movement
1923
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Mass - geometrical and mathematical forms are beautiful
Surface - best if divided by direct and simple lines
Plan - "the generator"
Regulating lines bring order to architecture
1923
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Ludwig Mies van der Rohe:
Office buildings should be undivided and made of concrete, iron, and glass
Buildings consist of skin and bones - columns and curtain walls
1925
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Le Corbusier:
Old towns are unorganized, dirty, and unworthy of the age
Cars and their speed will change the city forever
1926
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Le Corbusier/ Pierre Jeanneret:
Piloti; Roof Garden; Free plan; Free facade; Horizontal windows
1930
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Ludwig Mies van der Rohe:
The new era is a fact regardless of our acceptance
We must establish new values for this new era
1931
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Frank Lloyd Wright:
The house is a machine for living but it also has a symbolic meaning
Architects should not box up spaces
Modern architecture is married to the ground
Interior space is as vital as the exterior
1933
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CIAM:
4 Keys to Planning: Housing, work, recreation, traffic
All dimensions of the city must be based on the human scale
Strict zoning
1936
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Walter Benjamin:
Technology has enabled the reproduction of art but has diminished the aura that surrounds artwork
1960
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Louis Khan:
Geometric design and order are at the heart of architecture
There is little collaboration between architects - holding back arch.
1961
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Eero Saarinen:
International Style is too simple
Function & Structure is in the Zeitgeist
Building partis should be all-encompasing
1961
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Jane Jacobs:
Main Ideas contradictory to Robert Moses
4 generators of diversity: mixed use, short city blocks, buildings of different ages, concentration of urban population
1961
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Sibyl Moholy-Nagy
Modernists disregard history and precedent
2nd Gen. modernists emphasize structure, precedent, regionalism
1962
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Giulio Carlo Argan:
The search for type establishes a connection with history and gives architecture legitimacy
Type allows for a base design and thus variations upon it.
1963
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Leon Festinger:
A study on human interactions and the factors that drove them
He related physical structure to the formation of friendships
2 Factors - Physical distance and positional relationships
1966
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Robert Venturi:
Advocates complexity and rejects the glass box - less is a bore
Arch. should not oversimplify everything, should solve all problems at once
Rejects the free plan and advocates "things within things" plan.
1969
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Amos Rapoport:
Vernacular architecture acts as context to the high style buildings
Vernacular buildings have a type which can be altered as needed
Vernacular buildings are best analyzed by construction techniques
1970
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Thomas Schumcher:
Buildings should adapt to their context
A balance between a traditional city and a modern one is needed
1972
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Venturi & Scott-Brown
Architecture is influenced by the speed of the car
Advocates the use of the 'decorated shed" over the "duck"
An architecture of communication over an architecture of space
1978
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Collin Rowe:
Collage is the ideal way to make a city
Cities should remind us of the past but look towards the future
Foxes vs Hedgehogs
1978
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Collin Rowe:
Classical utopias are meant to be ideas
Activist utopias are meant to be built
Modernist architecture tried to achieve utopia, but failed.
1981
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Marco Frascari:
Architecture is the result of details which add meaning
Tectonics unify the tangible and intangible
The joint is the beginning of ornament
1983
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Kenneth Frampton:
Design should respond to local social, political, economical, and environmental problems and conditions
Design should be regional, not universal
1983
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Alan Colquhoun:
HIstoricism studies institutions in their historical context
Arch. should use history to guide design but improve upon it.
History should be viewed subjectively to be properly examined
1984
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Kenneth Frampton:
Arch. has been reduced to scenography
Tectonics have been lost as an art and need to be brought back.
Arch. forms should embody structure and vice-versa
1987
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Bernard Rudofsky:
Vernacular architecture is not built by designers, but rather by laymen to meet their needs.
1987
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Jon Lang:
Positive theory says how the world is
Normative theory says how the world should be
Positive can lead to normative
Normative theory should be questioned and improved upon
1988
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Peter Hall:
Chronicles the slum problem in urban areas
Europe - public housing solution
America - private sector
Solutions proposed because of fire, decease, real estate prices
1988
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Christian Norberg-Schulz:
Phenomenology makes architecture meaningful
Introduces genius loci - the spirit of the place
1989
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David Harvey:
Postmodernism stresses individualism and piecework solutions
Modernism stresses universal solutions and a top-down approach
Postmodernism accepts fragmentation, individuality, chaos, and anarchy.
Postmodernism is a collage of fragments within a single space
1992
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Michail Benedikt:
Presence, Significance, Materiality, Emptiness
The world is important because of itself and doesn't need symbolism
1993
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Greg Lynn:
Folding structures are heterogeneous and satisfy both the theoretical and practical needs of today's designers.
Folding allows buildings to relate to their neighbors through reflections
1995
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Schneekloth & Shibley:
Placemaking should include users and builders as well as designers
Similar and related to critical regionalism
1996
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Kate Nesbit:
Theory poses alternative solutions to the status quo
Theory is biased, unlike the facts of history
Architects often place too much emphasis on theory
1999
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Held and McGrew:
Globalization - interconnectedness of economies, politics, and ideas of the world that is changing the notion of nation-states.
Transformationalists - nation-states hold power over their borders, but it's not absolute. Globalization drives change in the world.
Hyperglobalists - nation-states are unnatural, they claim that a truly global civilization will arise.
Globalization is a historical process that can be traced centuries back.
1999
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Coyne:
Digital narratives are frequently utopian, socialist, and futurist
Computer skills are similar to craft skills, writing, and publishing.
Digital narratives are disembodied, not physical
2001
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Mallgrave:
Postmodernism responded to individual problems - everyone has a voice; one universal solution no longer adequate; no meta-narrative
1968 - Pivotal year for social events.
2001
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Short:
Skeptic of globalization says that its neither good nor bad and that the nation-state is resilient but not dead
Globalization is blurring the concepts of space and place
Economic, political, and cultural processes shape globalization
2001
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Mallgrave:
Modernism didn't die out in the 1970s. It was still used in large-scale commercial projects
Shows examples of tech and engineering driving aesthetics.
2001
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Sassen:
Digital and non-digital are not exclusive
Counters the argument that digitalization will eliminate architecture
2003
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Mitchell:
The world is made of boundaries pierced by network access points
In the digital world, destinations outweigh the journey of the message - who cares where email is in between inboxes
You no longer have a home turf, you are always connected
2005
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Mallgave:
The American skyscraper drove the European imagination
Skyscrapers were not generally modernist buildings
NYC had taller buildings due to better soil conditions
1916 NYC Zoning Code; Chicago Tribune competition
2010
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Sykes:
No prevailing theory since modernism
Postmodernists realized that architecture can't change the world
Theory is getting replaced by practice
2011
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Tim Dean:
Postmodernism is an obsolete idea with a convoluted language
Claims subjectivity, but opinions are driven by media, politics, etc