Charles Edouard Jeanneret, known as Le Corbusier, b.

La Chaux-de-fonds,
Switzerland, Oct. 6, 1887, d. 1965, was a Swiss-French architect who played a
decisive role in the development of modern architecture. He first studied (1908-
10) in Paris with August Perret, and then worked (1910) for several months in
the Berlin studio of industrial designer Peter Behrens, where he met the future
Bauhaus leaders Ludwig Mies van der Rohe and Walter Gropius. Shortly after
World War I, Jeanneret turned to painting and founded, with Amedee Ozenfant,
the purist offshoot of cubism. With the publication (1923) of his influential
collection of polemical essays, Vers une architecture (Towards a New
Architecture, Eng. repr. 1970), he adopted the name Le Corbusier and devoted
his full energy and talent to creating a radically modern form of architectural
expression.
In the 1920s and '30s, Le Corbusier's most significant work was in urban
planning. In such published plans as La Ville Contemporaine (1922), the Plan
Voisin de Paris (1925), and the several Villes Radieuses (1930-36), he advanced
ideas dramatically different from the comfortable, low-rise communities proposed
by earlier garden city planners. During this 20-year span he also built many villas
and several small apartment complexes and office buildings. In these hard-
edged, smooth-surfaced, geometric volumes, he created a language of what he
called "pure prisms"--rectangular blocks of concrete, steel, and glass, usually
raised above the ground on stilts, or pilotis, and often endowed with roof
gardens intended to compensate for the loss of usable floor area at ground level.
After World War II, Le Corbusier moved away from purism and toward the so-
called new brutalism, which utilized rough-hewn forms of concrete, stone,
stucco, and glass. Newly recognized in official art circles as an important 20th-
century innovator, he represented (1946) France on the planning team for the
United Nations Headquarters building in New York City--a particularly satisfying
honor for an architect whose prize-winning design (1927) for the League of
Nations headquarters had been rejected. Simultaneously, he was commissioned
by the French government to plan and build his prototypical Vertical City in
Marseille. The result was the Unite d'Habitation (1946-52)--a huge block of 340
"superimposed villas" raised above the ground on massive pilotis, laced with two
elevated thoroughfares of shops and other services and topped by a roof-garden
gymnasium that contained, among other things, a sculptured playground of
concrete forms and a peripheral track for joggers.
His worldwide reputation led to a commission from the Indian government to
plan the city of Chandigarh, the new capital of the Punjab, and to design and
build the Government Center (1950-70) and several of the city's other structures.
These poetic, handcrafted buildings represented a second, more humanistic
phase in Le Corbusier's work that also was reflected in his lyrical Pilgrim Church
of Notre Dame du Haut at Ronchamp (1951-55) in the Vosges Mountains of
France; in his rugged monastery of La Tourette, France (1954-59); and in the
structures he designed (from 1958) at Ahmedabad, in India. Le Corbusier
accidentally drowned in the Mediterranean on Aug. 27, 1965.

Frank Lloyd Wright, b. Richland Center, Wis., June 8, 1867, d. Apr. 9, 1959,
was one of the most innovative and influential figures in modern architecture. In
his radically original designs as well as in his prolific writings he championed the
virtues of what he termed organic architecture, a building style based on natural
forms.
After briefly studying civil engineering at the University of Wisconsin, Wright
moved to Chicago, where he went to work (1887) as a draftsman in the office of
Adler and Sullivan. While working under Louis Sullivan--whom Wright called
"Lieber Meister"--he began designing and building on his own a few private
houses for some of Adler and Sullivan's clients. These "bootlegged houses," as
Wright called them, soon revealed an independent talent quite distinct from that
of Sullivan. Wright's houses had low, sweeping rooflines hanging over
uninterrupted walls of windows; his plans were centered on massive brick or
stone fireplaces at the heart of the house; his rooms became increasingly open
to one another; and the overall configuration of his plans became more and
more asymmetrical, reaching out toward some real or imagined prairie horizon.
In contrast to the expansive openness of those houses which inspired the prairie
school, Wright's urban buildings (unlike Sullivan's, for instance) tended to be
walled in, somewhat inhospitable to the city, and lit primarily through skylights.
Whereas two of the finest buildings of Wright's early period--the Larkin Company
Administration Building (1904; demolished 1950) in Buffalo, N.Y., and the Unity
Church (1906) in Oak Park, Ill.--seemed to proclaim Wright's distaste for urban
environments, houses he designed in the same period (such as Buffalo's Martin
House, 1904, and Chicago's Robie House, 1909) reached out into the landscape
with large, glazed walls, terraces, and low-slung roof overhangs.
Wright worked on his own after 1893, when the issue of his bootlegged houses
finally caused a break with Adler and Sullivan's office. During the 20 years that
followed he became one of the best-known (and, because of a tempestuous
personal life, one of the most notorious) architects in the United States. Two
editions of his work brought out (1910, 1911) by the Berlin publisher Wasmuth,
along with a parallel exhibition that traveled throughout Europe, boosted
Wright's fame in European architectural circles and influenced such key figures in
contemporary architecture as Ludwig Mies van der Rohe and Le Corbusier.
His reputation assured on both sides of the Atlantic, Wright began to reinforce
the philosophical underpinnings of his innovative building style. In keeping with
his agrarian bias, Wright proclaimed that the structural principles found in natural
forms should guide modern American architecture. He praised the virtues of an
organic architecture that would use reinforced concrete in the configurations
found in seashells and snails and would build skyscrapers the way trees were
"built"--that is, with a central "trunk" deeply rooted in the ground and floors
cantilevered from that trunk like branches. Spaces within such buildings would
be animated by natural light allowed to penetrate the interiors and to travel
across textured surfaces as the incidence of sunlight and moonlight changed.
His view of architecture was essentially romantic. Although Wright often paid lip
service to the rational systems called for by mass-produced building (modular
planning and prefabrication), his efforts in those directions seemed halfhearted
at best. The most spectacular buildings of his mature period--Tokyo's Imperial
Hotel (1915-22; demolished 1968); Fallingwater (Kaufmann House; 1936), Mill
Run, Pa.; the S. C. Johnson and Son Wax Company Administration Center (1936-
50), Racine, Wis.; Taliesin West (1938-59); and New York City's Guggenheim
Museum (completed 1959)--were based on forms borrowed from nature, and the
intentions were clearly romantic, poetic, and intensely personal. At his death he
left a rich heritage of completed buildings of almost uniform splendor; few
disciples, however, could match the special genius reflected in his works. Unlike
Walter Gropius, Mies van der Rohe, Le Corbusier, and other giants of modern
architecture, Wright was, at heart, an essentially idiosyncratic architect whose
influence was immense but whose pupils were few.

Modern architecture is a form of building design characterized by the use of

unornamented industrial materials--principally steel, glass, and concrete--to make
simple, geometric forms standing free in space. Such buildings, which began to
appear around 1922 in Germany, the Netherlands, the USSR, and France, were
first grouped together under a single stylistic heading in a 1932 exhibition titled
"Modern Architecture" held at the Museum of Modern Art in New York City. The
exhibition's organizers, the critic Henry-Russell Hitchcock and the architect C.
Philip Johnson, detected in a variety of post-World War I buildings from several
countries a shared emphasis on volume over form, asymmetrical composition,
and avoidance of ornamentation. These elements, Hitchcock and Johnson
proclaimed, constituted an International Style--the result of a century-long
search for a style suited to modern materials and engineering techniques, freed
from borrowed forms.
Some of the architects cited by Hitchcock and Johnson as exponents of the
International Style resisted this narrow, formal definition. The dissenters asserted
that their work was only the direct, logical manifestation of contemporary science
and society, that it would change as its preconditions changed, and that
architecture had in fact finally escaped the limitations of stylistic fashions. The
course of architecture since 1932 has proved both camps correct: if the
International Style has been universally accepted as the symbolic expression of
modernity in building, it has also been shown to be essentially an artificial
construct that is neither the inevitable nor necessarily the most logical reflection
of 20th-century conditions.

The Bauhaus
Among the architects who developed the International Style, the Germans
formed the largest and initially the most important group. By 1918 a group of
radical designers, centered in Berlin, had emerged as the champions of an
architecture featuring simple shapes in steel and glass and based on an industrial
and socialist ethic that had as its primary goal the overthrow of 19th-century
eclecticism. The strong intuitive flavor of this so-called expressionism in turn
triggered a reaction led by Walter Gropius and Ludwig Mies van der Rohe, who
accepted steel-and-glass construction and pure geometric forms as architectural
ideals.
The chief theorist of what its adherents called the Neue Sachlichkeit, or the new
factualism, was Gropius, who from 1919 served as director of what had formerly
been the Weimar Art School and was now called the Bauhaus. When the
Bauhaus moved to Dessau in 1925, Gropius implemented his theories in the
buildings that he designed for the new site. After Gropius left the Bauhaus to go
into private practice in 1928, the leading light of the movement became Mies van
der Rohe. In his German Pavilion at the Barcelona Trade Fair of 1929, Mies
carried the features of the International Style to their furthest limit of
abstraction.

Neoplasticism and Constructivism

The Bauhaus architects' final step from expressionism to the Neue Sachlichkeit is
widely credited to the influence of two contemporary art movements: Dutch
neoplasticism, usually called de Stijl, and Soviet constructivism. The neoplasticist
group was assembled (1917) by the poet-painter Theo van Doesburg. Van
Doesburg and Cornelius van Eesteren outlined the neoplasticist ideal in a 1922
Paris exhibition of a series of house projects whose arrangements of colored
planes resembled the paintings of abstract artist Piet Mondrian made three-
dimensional.
Constructivism was initiated in the Soviet Union with the nonobjective
sculptor Vladimir Tatlin's execution (1918) of a model for a hypothetical
Monument to the Third International, in which a series of glass volumes
were to rotate within a spiraling steel tower meant to express the triumph
of the new technology over traditional masonry construction. Once
brought (1922) to Germany by emigres such as Laszlo Moholy-Nagy, the
constructivist concept of a building as a technical mechanism in motion
soon assumed a key role in European architectural theory.

Le Corbusier

The contemporaneous work of the Swiss architect Le Corbusier, differed in its

premises, if not in its outward appearance, from that of the Germans. His early
buildings--for example, the Villa Savoye (1929-30) in Poissy--resemble those of
Gropius and Mies in their asymmetrical and flowing spatial arrangements, as well
as in their unornamented glass and stucco planes.
Le Corbusier's explanation of his art in his immensely influential Vers une
Architecture (1923; trans. as Towards a New Architecture, 1927) emphasized
that a new and purer classical architecture of forms seen in light could be
created by following the logical conceptual processes of the engineer. He also
insisted that the reorganization of the city was the first task of modern
architecture. His 1922 exhibition entitled "Modern City for Three Million
Inhabitants" led eventually to a model apartment tower that he called a Unite
d'Habitation, the first of which was erected in Marseille in 1946-52. An overriding
concern for urban planning made him one of the key figures at a 1928 meeting
of modern architects that resulted in the formation of the Congres
Internationaux d'Architecture Moderne (CIAM). Greatly influenced by Le
Corbusier, the CIAM architects overruled the aesthetic goals of the expressionists
by setting urbanism, rather than design, as the organization's chief concern.

Frank Lloyd Wright

Also active at the time of the epochal "Modern Architecture" exhibition was
another leading exponent of modern architecture, the American Frank Lloyd
Wright. Although his work was recognized in the 1932 exhibition, Wright was set
apart from the practitioners of the International Style because of his
"individualism" and "romantic" attachment to nature. He was also a generation
older than his European counterparts and had actually influenced some of their
work through the publication (1910) in Berlin of the Wasmuth Portfolio of his
work. Wright accepted the machine as an aid to architecture and made early use
of such modern materials as reinforced concrete in his compositions of
cantilevered roof planes, unornamented surfaces, and flowing spaces. On the
other hand, he believed in what he termed the "organic" use of building
materials and in the close relationship of a building to its site--19th-century ideas
rejected by his European contemporaries. His idea of modern organicism is
expressed in such works as the Johnson's Wax Company Headquarters (1937-39)
in Racine, Wis., a great space wrapped with brick and fiberglass tubing whose
roof is supported by slender, mushroom-shaped columns; and in the dramatically
cantilevered concrete-and-glass Kaufmann House, "Fallingwater" (1936-37), at

Mill Run, Pa.

Triumph of the International Style

In 1932 the International Style embraced only a small proportion of recent

architecture; outside of private houses its influence was limited to certain
housing projects in Germany, Austria, and the Netherlands. During the great
Depression of the 1930s, however, the simplicity and economy of the
International Style posed a desirable alternative to the extraneous ornamentation
and lavish use of space inherent in eclectic architecture, and only CIAM seemed
to have any clear solutions to the pressing problem of social housing. This new
socioeconomic environment, as much as the aesthetics of modern architecture,
paved the way for the triumph of the International Style in France, Great Britain,
and the United States, particularly after its German masters were forced into
exile by Hitler.
After World War II the International Style provided the basis for the rebuilding of
European cities--for example, van den Broek and Bakema's Rotterdam rail
terminal (1953-54). In the United States the architects of the building boom of
the 1950s and 1960s turned to the International Style in designing technocratic
office buildings such as New York City's Lever House (1950-52), by Gordon
Bunshaft of the firm of Skidmore, Owings, and Merrill (SOM).
Equally attracted to the philosophy and the aesthetics of the new architecture
were institutions that sought to project a modern image, such as the Air Force
Academy, whose Colorado Springs, Colo., campus was designed (1954-57) and
built (1956-62) by SOM. Even the New York City headquarters of the United
Nations (1947-50) was rendered in the International Style by a team of architects
that included Le Corbusier, who had been passed over (1927) for the design of
the

League of Nations building.

Limits of the International Style

If the term modern architecture is understood to consist of a particular form-

vocabulary (the International Style) embodying a certain philosophy
(functionalism), then the term cannot be used to signify all the architecture
produced in the modern epoch, but only one architectural tradition extending
backward and forward from an accepted year of conception (1922). Frank Lloyd
Wright's so-called Prairie style (from c.1900; see prairie school) clearly foretells
the International Style, as do the contemporaneous concrete designs of Auguste
Perret and Tony

Garnier in France.

In another vein the Art Nouveau movement of the 1890s also sought to produce
an innovative modern style using the industrial materials of metal, glass, and
concrete; only its sculptural, biological form-vocabulary separates it from the
buildings of 30 years later. Art nouveau, in turn, represented the culmination of a
search for a new style adapted to new materials and new institutions that
commenced around 1830 with the work of European romantic rationalist
architects. Going back in time even further, direct expressions of materials and
function in works of engineering can be discerned in the mills and iron bridges of
England dating from the beginning of the Industrial Revolution (1770s).
The fact that such pioneering movements of modern architecture can be
identified as much as two centuries ago indicates that modern architecture did
not primarily evolve out of the conditions and demands of modern society. Its
aesthetic and philosophical roots can actually be traced back through a long line
of artists and theorists.
Modern architecture claimed to be based on a logical expression of the spatial
and structural facts of building, yet its practitioners have rarely approached the
structural ingenuity of conceptual technicians such as R. Buckminster Fuller.
Similarly, although its apologists claimed that modern architecture represented a
democratic style expressing the taste of the general public, its works often have
been seen as aloof and oversophisticated by their residents. Finally, modern
architecture's efficacy in solving the problems of redesigning cities into finely
tuned social organisms was questioned by those who saw it as the destroyer of
cohesive neighborhoods through wholesale urban renewal.

Modifying the International Style

As these contradictions in modern architecture began to emerge clearly in the

1950s, many architects sought to modify the codes of the International Style so
as to create buildings at once modern and monumental, as well as functional and
responsive to the needs and expectations of a wide audience. An international
group of architects formed (1953) under the name Team X succeeded in 1959 in
dissolving CIAM and setting its own goals for a new, more humane system of
public housing. Team X members such as Alison and Peter Smithson and Aldo
van Eyck, working from the aesthetic basis of the International Style, evolved
from it more visually complex, texturally rich, and physically substantial buildings.
Late in his career Le Corbusier himself became a major figure in this
development, particularly with his sculptural concrete chapel at Ronchamp,
France (1951-55). Another convert was Philip Johnson, the theorist of the
International Style, who executed a number of monumental public buildings in
rich materials.
If Eero Saarinen turned the International Style to expressionistic ends in works
such as his TWA Terminal (1956-62) at J. F. Kennedy Airport in New York City,
his buildings are scarcely more extraordinary than the later works of Frank Lloyd
Wright, whose spiraling, concrete Guggenheim Museum was conceived in 1942
and completed in 1959. Finally, Louis I. Kahn developed a new monumentality
that was first expressed in his Yale University Art Gallery (1951-53) and
culminated in such buildings as the Exeter Library (1967-72), a symmetrical,
almost classical composition of brick, wood, concrete, and glass. Kahn was
perhaps the last of the great modern architects. The full emergence of
postmodern architecture took place shortly after Kahn's death (1974), and many
prominent architects are now pursuing a variety of formal images beyond the
doctrinal limitations of the International Style.
Two opposite forces have coexisted in American art since the establishment of
the first colonies. On the one hand, American artists have been aware of their
European cultural heritage and of continuing innovation in Europe; on the other
hand, they have had to adapt European forms to the exigencies of their native
situation. This interaction between rival forces is hardly unique to American art--
all art grows within a tradition--but what distinguishes the American experience
is the ambivalent attitudes brought to that tradition. To many of the early
settlers, the ambivalence was clear, since so many of them were religious and
political exiles. Yet despite the pressures of conscience and conviction, the
European traditions persisted in memory, so that the first American art and
architecture were adaptations of European styles and modes, modified to suit the
colonists' urgent needs in a new and often hostile world. The conflict, aroused by
traditions at once alienating and indispensable, has served as the underlying
dynamic for the rise and progress of art and architecture in the United States.

AMERICAN ARCHITECTURE

In a virgin land the art form that developed most rapidly was the one for which
the need was most pressing--architecture. The earliest extant buildings are the
dwellings, meetinghouses, and churches that made up the nuclei of the first
colonial settlements in Virginia and Massachusetts. The dwellings, simple in plan
and elevation, like the Adam Thoroughgood House, Princess Anne County, Va.
(1936-40), resembled English houses of the late medieval or Tudor style. The
most innovative in design were New England meetinghouses, because the
separatists sought to avoid any associations with the established church in
England. These handsome buildings, such as the Old Ship Meeting House,
Hingham, Mass. (1681), were either square or rectangular in plan and served as
the focal center for northern towns.

Colonial Buildings

As the colonies flourished, more and more elaborate structures were required. By
the end of the 17th century, most American public buildings were derived from
Sir Christopher Wren's designs for the rebuilding of London after the Great Fire
in 1666. The best were the so-called Wren Building (1695-1702) of the College of
William and Mary and the Governor's Palace (1706-20), both at Williamsburg, Va.
To stay the random growth of cities, the concept of urban planning was
introduced, beginning with Thomas Holme's grid plan of 1682 for Philadelphia,
then second in population to London within the English-speaking world. By the
middle of the 18th century, architects were designing churches, mansions, and
public buildings in the current English Georgian style, named for King George I.

Post-Revolutionary Architecture

After the Revolutionary War, the first attempt to create a style expressive of the
new republic was made by Thomas Jefferson. He based the design of the new
capitol building at Richmond, Va., on that of a Roman temple, the Maison Carree
at Nimes, France. In so doing he laid down an American precedent of modifying
an ancient building style for modern use. The Virginia State Capitol (1785-96),
both building and symbol, was meant to house the kind of government
envisioned by Jefferson, and the Maison Carree became a paradigm for American
public structures.
Jefferson was influential in setting forth the style of monumental neoclassicism
that supplanted Georgian architecture with its taint of monarchy and colonialism.
Monumental neoclassicism came to represent the new political and social entity
that was the United States of America. Architects committed to neoclassicism
designed not only the new Capitol of the United States in Washington, first
designed (1792) by William Thornton and Stephen Hallet, and other government
buildings, but also factories, schools, banks, railroad stations, and hospitals,
modernized by the frequent use of materials such as iron, concrete, and glass.
The English-born Benjamin Latrobe, who began his American employment
working with Jefferson on the Richmond Capitol, brought American neoclassicism
to maturity. Latrobe invented new formal configurations for buildings as varied in
function as the Bank of Pennsylvania (1798-1800) and the Centre Square Pump
House (1800; both in Philadelphia and both destroyed) and Baltimore's Roman
Catholic Cathedral (1806-21). Chosen in 1815 to supervise the rebuilding of the
Washington Capitol, gutted by fire during the War of 1812, Latrobe set about
producing a truly monumental American architecture. In 1817 he procured the
assistance of Charles Bulfinch, who had just completed Boston's Massachusetts
General Hospital. Together the two men completed plans for the first major
building phase of the Capitol.

Revival Styles

Latrobe and Bulfinch were the preeminent architects in the neoclassical mode.
The generation following preferred Greek over Roman forms and produced the
Greek Revival. A principal contribution of this style was a modification of the
Greek prostyle temple (columns only across the front portico) for domestic and
public buildings; the style's influence was rapidly extended north, south, and
west. Major surviving examples are William Strickland's Philadelphia Merchants'
Exchange (1832-34) and Alexander Jackson Davis's La Grange (Lafayette)
Terrace (1832-36) in New York. Up to the 1850s classical revival styles led to a
homogeneity in American architecture that was never to prevail again.
Yet even before 1810, American architects, following the lead of their English
contemporaries, had begun to introduce a rival style on the American scene--the
Gothic Revival. It is appropriate that this movement, which originated with the
rise of romanticism in England, should have been taken over in a country where
romanticism constituted the first intellectual flowering after the nation's founding.
Not surprisingly, the style lent itself most naturally to church architecture.
Richard Upjohn, a prolific ecclesiastical architect, made his Trinity Church (1839-
46) in New York the prototype for Gothic Revival churches. The style was also
widely applied to college buildings, thus identifying those institutions with the
prestigious English universities of Oxford and Cambridge.
Before the Civil War other revival styles such as the Romanesque, the Egyptian,
and the Italian villa style were introduced, but with less applicability. More
widespread was the cottage architecture for the middle class advocated by
Andrew Jackson Downing. Moderate in price and well constructed, these
Downing designs exploited the possibilities of wood both as construction material
and as decoration.

Cast-Iron Architecture

An important development was the proliferation of industrial and commercial

structures requiring extensive use of iron. At first engineers rather than
architects were responsible for buildings that demanded advanced technical
planning. Because cast- and wrought-iron columns replaced heavier masonry
construction, it became possible to construct a lighter skeleton, use prefabricated
modules, and introduce more glass into the facade. James Bogardus, an inventor
and manufacturer of machinery, is generally credited with the development of
cast-iron architecture, as demonstrated in his "Cast Iron Building" (Laing Stores;
1848) in New York. In his proposed plan for the Industrial Palace of the New
York World's Fair (1853), also called the New York Crystal Palace, and his
Wanamaker Department Store in New York (c.1859; destroyed), he pushed this
type of engineered building to the limits then possible.
After the financial crash of 1857 and the Civil War, both of which had temporarily
halted building construction, Americans gravitated to a style that demonstrably
symbolized the nation's rapidly increasing wealth. Mansions and government and
civic buildings were designed in the Second Empire style, promoted in France by
Napoleon III to bolster his imperial ambitions and exemplified by John
McArthur's massive Philadelphia City Hall (1874-1901). Also of great importance
was the extension of the Gothic Revival into its Victorian phase. This movement,
inspired by the writings of John Ruskin, emphasized craft and permitted the
manipulation of architectural detail to create bold new effects. Two great
architects, Frank Furness and Henry Hobson Richardson, emerged from Victorian
Gothic; Furness created works of idiosyncratic originality, while Richardson
created a new vision within a revival style.
Richardson, the most independent and imaginative architect since Latrobe,
attained prominence when he gave a new Romanesque form to Boston's Trinity
Church (1872-77). Besides churches, Richardson designed numerous residences,
libraries, railroad stations, civic and commercial buildings, and even a prison,
achieving models of their kind for each type. He favored the Romanesque
because he believed it expressed the pervasive energy and dynamism of the
American scene. But it was his Marshall Field Wholesale Store (1885-87) in
Chicago that was to prove seminal. Its rusticated masonry and multistoried
arrangement of arches, reminiscent of Romanesque and expressive of
Richardson's sense of ordering masses on a large scale, would be applied by his
successors in Chicago to problems of skyscraper design.

Skyscraper Architecture
The skyscraper, defined here as a tall commercial structure, is America's original
contribution to the history of architecture. Commercial buildings of several
stories, constructed during the 1850s in Philadelphia, anticipated the skyscraper.
But before it could become a reality, architects had to incorporate the elevator
into the structure. This was done, beginning in the 1850s in New York. Chicago,
however, was the city where skyscraper design soon attained a kind of canonical
perfection.
Since many of the city's commercial buildings needed to be replaced after the
great fire of 1871, Chicago served as an excellent testing ground for architects.
Preeminent among them was Louis Sullivan. He and others working in teams
evolved the glass cage that became the hallmark of the Chicago school of
architecture. William Holabird and Martin Roche's Tacoma Building, Daniel H.
Burnham and John Wellborn Root's Reliance Building, and Sullivan's Gage
Building are outstanding examples of the progressive stages in the skyscraper's
development.
Yet just at the time that an architecture of originality and daring was emerging in
Chicago, the New York firm of McKim, Mead, and White successfully introduced a
monumental Beaux-Arts style for impressive public buildings such as the Boston
Public Library (1887-98). This preference for revival styles continued well into the
20th century, with interesting variations. When, for instance, New York began its
campaign to raise the world's tallest buildings, their decorative systems were
adapted to revival styles, culminating in the best-known Gothic skyscraper, Cass
Gilbert's Woolworth Building (1913) in New York.

Modern Architecture

Far more significant than revival styles to modern architecture was, on the one
hand, the unfolding of the brilliant indigenous talent of Frank Lloyd Wright and,
on the other, the infusion of European modernism through the work of the
Bauhaus architects Walter Gropius, Marcel Breuer, and Ludwig Mies van der
Rohe, and the independent work of Eric Mendelsohn and Eliel Saarinen. Wright,
who early in his career worked for Sullivan in Chicago, believed that the West
and Midwest embodied the "real American spirit." Acting on this belief, he
designed the houses that were to win him international renown. His "prairie
houses" were horizontal, often of one story, with rooms merging in a continuous
open space. Wright was a man of fertile imagination; before his long career
ended, he designed buildings as various as the Imperial Hotel (1916-22;
destroyed) in Tokyo; the Johnson Wax Company Building (1936-39) in Racine,
Wis.; and New York's Guggenheim Museum (1956-59).
Despite some native resistance--including Wright's objection that the
International Style of architecture exhibited at New York's Museum of Modern Art
in 1932 was "un-American"--the presence of European modernism was felt in
America's urban and industrial culture from the 1930s. After Gropius was
appointed chairman of architecture at Harvard's Graduate School of Design in
1938, many young Americans were trained in the ideas of the German Bauhaus.
Postwar Architecture

The stark, boxy forms of European modernism by way of the Bauhaus dominated
American cityscapes in the building boom following World War II. Of special
importance was the use of glass curtain-wall construction for the design of large
skyscrapers and other buildings, as in the United Nations complex, erected in
1947-53 under the supervision of Le Corbusier and Wallace K. Harrison, and the
Seagram Building (1956-59) of Ludwig Mies van der Rohe and Philip Johnson.
By the mid-1970s, however, the reaction against the plain, unadorned "glass
box" of the International Style was well under way, carried forth by Michael
Graves, Robert A. M. Stern, and Robert Venturi, among many others, as well as
by Philip Johnson, who had been the chief American proponent of the
International Style. These architects returned once again to the use of color and
decoration and revived such once-spurned architectural devices as the column.
Postmodern architecture may have produced a few extreme statements, but the
movement also brought American architecture a new vitality.
Greek Architecture

Any consideration of Greek architecture must begin with mention of Aegean

civilization, typified by the great Minoan palaces on the island of Crete, in
particular the huge complex of Knossos and the magnificently sited structures at
Phaistos (both c.1700-c.1400 BC). Constructed of massive masonry, they were
several stories high and incorporated large pillared halls, dozens of labyrinthine
smaller rooms, sweeping terraces looking to the sea, and plumbing
arrangements of astonishing modernity. The walls were decorated with brilliantly
colored frescoes (see fresco painting) and stucco bas-reliefs. The Minoans were
conquered by the Mycenaeans of mainland Greece, whose architecture was
subsequently strongly influenced by Cretan prototypes.
This early Greek architecture (3000-700 BC) is characterized by the use of
massive stone blocks for walls and by the occasional use of corbeled masonry to
make primitive forms of vaults and domes, as in the Lion Gate and so-called
Treasury of Atreus at Mycenae (1400-1200 BC). Columns sometimes were also
used to frame doors and gateways and to provide internal colonnades for
palaces, as in the courtyard at Tiryns. It was, however, the column and the
beam--post and lintel--that formed the basis of classical Greek architecture and
that give it the simple, straightforward character that, together with its details,
has led many scholars to speculate on its origins in the construction of primitive
wooden huts.
The Greeks developed a vocabulary of architectural detail in stone that was
fundamental to European architecture for more than 2,000 years. The Greek
"language of architecture" reached its zenith during the 5th century BC. Classical
Greek architecture consisted of three orders--the Doric, Ionic, and Corinthian.
Each represented the assembly of the basic components of a simple rectangular
building with a pitched roof--that is, column, capital (or column head),
entablature (the "beam" connecting the columns), and pediment the triangular
gable of the roof). Different proportions and decorative conventions imparted a
distinctive character to each order, regardless of the bright colors applied to the
original buildings or the subject matter of the sculptured decoration along the
frieze or in the triangular pediment (tympanum). The proportions of each order
were fixed within narrow limits, and, strictly speaking, the components of each
order could be correctly assembled in only one way. The Greeks never mixed
different orders on the same building. This, and other rules, were modified in
Roman architecture. The Romans created two additional orders, the Tuscan and
the Composite, and employed all five orders as decoration for buildings
constructed on principles different from those the Greeks used.
The basic building material of the classical period was marble, a strong stone
that could be shaped to give great precision of line and detail. The basic temple
form was also very simple: a rectangular chamber with a shallow-pitched gabled
roof, surrounded by a row of columns (or fronted by a columned porch),
standing on a podium of three steps. Given the simplicity of the construction
system and the building form, the essential achievement of the Greeks was the
refinement of the building and its components into an architectural system of
proportion and decoration--exemplified by the buildings on the Athens Acropolis,
in particular the Parthenon (447-432 BC)--that remained the basis of the Western
European architectural tradition until the mid-19th century.
Roman Architecture

During the 2d century BC the Romans, in conquering North Africa, Greece,

Anatolia, and Spain, absorbed the architectural traditions of those areas (most
significantly that of Greece), to which they added the constructional skills of the
Etruscans, their immediate neighbors in central Italy (see Roman art and
architecture). The most significant achievements of the Romans were in their
technology of building, their use of a much wider range of materials (including
concrete, terra-cotta, and fired bricks), and their refinements of the arch and
vault and the dome--all of which had been pioneered by the Etruscans. Roman
temples generally remained modeled on those of Greece, with the common
addition of a high plinth (base or platform) and the frequent omission of the side
and rear columns, typified by the Maison Carree at Nimes, France.
Roman civic monuments included a number of building types of unprecedented
size and complexity, which could not have been built using the Greek beam-and-
column construction system. Aqueducts, thermae (such as the Baths of
Caracalla), basilicas (law courts), theaters, triumphal arches, amphitheaters (such
as the Colosseum), circuses, and palaces involved enclosing much larger spaces
or bridging much greater distances than could be achieved by the use of timber
or stone beams. The Roman use of domed construction in mass concrete is best
represented by the well-preserved Pantheon in Rome (constructed AD 120-24),
which subsequently became a Christian church. Later Roman or Early Christian
churches, however, generally took their form from the basilica, whose central
nave, side aisles, triforium, and apse became characteristic features of the
Romanesque and Gothic church. Emperor Constantine I built huge basilican
churches at all the major Christian sites in the Roman Empire in the 4th century,
thus firmly establishing the basilica as the predominant form of Christian church
architecture (see Early Christian art and architecture).

Byzantine Architecture

Byzantine art and architecture developed in the Eastern Roman Empire founded
by Constantine I when he moved the capital from Rome to Byzantium
(subsequently Constantinople--present-day Istanbul) in the 4th century. In
southern and eastern Europe, in particular in those parts of Italy, Greece, and
Anatolia that remained under the sway of the Byzantine Empire, the continuity of
Roman plans and techniques was strong. Only slightly modified Roman basilican
plans were used for such Italian churches as Sant'Apollinare in Classe, Ravenna
(534-39); in Constantinople itself huge domed churches, such as Hagia Sophia
(532-37), were built on a scale far larger than anything achieved by the Western
Roman Empire.

Romanesque Architecture

In northern Europe, where Roman remains were less frequently encountered,

greater freedom of experiment existed in Merovingian, Carolingian, and Ottonian
architecture, as the early periods are known. From the mid-10th to the mid-12th
century greater progress was made toward the development of a successor
style--the Gothic. The primary characteristics of Romanesque architecture (or
Norman architecture, as northern Romanesque is often known) were Roman in
origin, however: large internal spaces were spanned by barrel vaults on thick,
squat columns and piers; windows and doors had round-headed arches; and
most of the major churches were laid out on the basilican plan, modified by the
addition of buttresses, transepts, and towers. The buildings are solid, heavy,
and, because of the comparatively small windows, dimly lighted, exemplified by
Durham Cathedral (begun 1023) in England. Portals, capitals, and altars are
embellished with sculpture of superlative skill and powerful effect; stained glass
first appeared in Europe, but on a limited scale, because of the restricted size of
window openings.

Gothic Architecture

From the mid-12th century to the 16th century northern European architecture
was characterized by the use of flying buttresses, pointed arches, ribbed vaults,
and traceried windows. The thin walls, slender columns, and very large areas of
glass in Gothic buildings gave an impression of lightness that contrasted
markedly with the Romanesque. Gothic architecture originated at the royal abbey
church of St. Denis, built by Abbot Suger between 1137 and 1144. It was refined
in the great churches of northern and central France, such as Amiens
Cathedral(1220-70), notable for its great height and the slenderness of its
columns, and the Sainte-Chapelle in Paris (1247-48), in which exceptionally large
wall areas were filled with glass and tracery. Indeed, Gothic architecture was
most fully developed in France and England, where the style spread in the late
12th century. The spread of Gothic to Germany was delayed until the mid-13th
century, and in this country only a few cathedrals, such as the one in Cologne
(begun 1248), approached the size and quality of the northern French
prototypes. The most thorough application of northern Gothic to Italy was in the
Milan Cathedral, built at the end of the 14th century by French and German
masons. In general, the Italians tended to use Gothic as a decorative feature
rather than as a total building system.
Many Gothic secular buildings survive, some of the finest examples being the
Bruges Town Hall (1376-1420) in Belgium, the Palazzo Pubblico (begun 1298) in
Siena, Italy, and the Pont Valentre (early 14th century) in Cahors, France. The
greatest concentration of Gothic secular buildings is in Belgium, then the most
prosperous part of northwest Europe.

Renaissance Architecture

During the early 15th century European culture became inspired by the
rediscovery, known as the Renaissance, of classical literature, art, and
architecture. Italy was the center of this rebirth, and in Florence, where the
movement started, architecture was influenced by the use of the orders, the
round arch, the barrel vault, and the dome--all Roman features. In northern
Europe, where Gothic continued to flourish well into the 16th century, the
Renaissance at first made only a superficial impact and was for a much longer
time confined to decorative changes. In both France and England a truly classical
style was not established until the first half of the 17th century: in France by
Francois Mansart and in England by Inigo Jones.
The Florentine Renaissance did not initially mean the complete break with
traditional practice that was implied in the Gothic north. For the church of Santo
Spirito (begun c.1436), Filippo Brunelleschi used a basilican plan, round arches,
and a flat ceiling; but these traditional Italian Romanesque elements were
combined with a new sense of proportion, the use of Corinthian columns, and a
dome over the crossing of nave and transepts. Brunelleschi's later design for the
vast, still unfinished cathedral of Santa Maria degli Angeli (also called the Duomo
of Florence) took the form of a domed octagon with eight radiating chapels, a
centralized plan that became the ideal among his contemporaries in Florence
(Leon Battista Alberti and Michelozzo) and his followers in Rome. There, during
the 16th century, a more monumental version of the style was developed by
Donato Bramante, Raphael, and Michelangelo, as in their various plans for Saint
Peter's Basilica.

Baroque and Rococo Architecture

In the 15th century Florentine architecture relied for effect upon proportion,
simple straight lines, and the correct use of classical details. During the 16th
century, however, architects such as Michelangelo and Giulio Romano abandoned
this restraint for a more exciting, idiosyncratic version of the style, now called
Mannerism, in which the classical rules were deliberately flouted for effect.
Giovanni Lorenzo Bernini and Francesco Borromini further developed the style by
introducing curvilinear forms and by incorporating sculpture and painting in their
buildings to give a rich and dynamic version, known as baroque, which spread
during the 17th and 18th centuries from Rome to much of southern Europe and
to South America.
In northern Europe, especially in Austria and Germany, baroque architecture
achieved an exuberance and freedom unmatched elsewhere, climaxing in the
rococo, as in Germany's Wurzburg Residenz. In France baroque and rococo were
tempered by neoclassicism, with a resultant elegance and refinement in both
architecture and decoration, exemplified by the 18th-century sections of the
Palace of Versailles. The spread of neoclassical architecture during the 17th and
18th centuries was due in no small measure to the illustrated books that brought
it to the attention of educated patrons. Although fine architecture has never
been created by untalented architects, the rules of the classical orders enforced
systematic convention in design that enabled many moderately competent
architects to produce well-proportioned and finely detailed buildings. In part this
explains the extraordinary success of the Palladian (see Palladio, Andrea)
interpretation of Romanized Greek architecture. It was, for example, the source
of almost all country-house building in England during the 18th century, as well
as of numerous mansions, courthouses, state capitols, and universities along the
eastern seaboard of North America.

The Age of Revivals

During the late 18th and 19th centuries Europe and America witnessed a series
of stylistic revivals. The period was dominated by the proponents of the classical
(themselves split between "Greeks" and "Romans") and the northern Gothic.
Buildings were also designed in self-conscious imitation of Byzantine, Oriental,
Egyptian, Venetian Gothic, and Florentine Renaissance architecture, however.
This was not, of course, the first time that ancient styles had been revived; the
Italians of the 15th century and the architects of Charlemagne's court in the 9th
century had incorporated classical motifs in their buildings. Both the revived
classical and the Gothic Revival, however, were essentially different from the
architecture that inspired them.
The country mansion of England and colonial America bore a classical portico,
but it was attached to a type of building never seen in ancient Rome or Greece.
The revived Gothic applied during the 19th century to private houses, office
buildings, railroad stations, hospitals, and waterworks was by no means the
same as the Gothic architecture of the northern medieval cathedrals. New
engineering techniques and modern materials--in particular in cast-iron
architecture--removed many of the age-old practical constraints on building
design. Rapid urban growth during the 19th century produced a great many fine
and essentially original buildings, the quality of which is only beginning to be
appreciated.

Modern Architecture

Contemporary architecture takes a bewildering variety of forms and makes use

of a far wider range of materials than ever before. The International Style,
promulgated by Walter Gropius, Le Corbusier, and Ludwig Mies van der Rohe in
theory and practice, dominated architecture for most of the 20th century. Most
of the earlier buildings by these architects were small private houses, usually
rectangular, with undecorated walls, flat roofs, and large areas of glass set in
metal frames. Conscious avoidance of any previous styles or recognizable
antecedents was combined with highly sophisticated proportioning to achieve
sleek, elegant structures, such as Mies's German Pavilion for the 1929 Barcelona
Exhibition. To the dismay of its originators, the International Style was
enthusiastically adopted by far lesser talents and profit-minded builders to
produce numerous "modern" office buildings, apartment complexes, hospitals,
and motels all over the world.
Not all contemporary architects subscribed to Mies's dictum of "less is more," and
hence their work is difficult to classify as "modern." Frank Lloyd Wright, probably
the outstanding native-born American architect of the 20th century, Kenzo Tange
of Japan, Alvar Aalto of Finland, and the Finnish-Americans Eliel Saarinen and
Eero Saarinen produced many buildings of great beauty and originality. Although
some of their work does reflect the International Style, most of their buildings
are instantly recognizable in their individuality, as were the great buildings of the
past. In short, these architects and others like them seem to be part of a
continuing architectural tradition rejected by the practitioners of the International
Style (see modern architecture).
The social turmoil of the 1960s was emphatically reflected in architecture.
Complexity and Contradiction in Modern Architecture (1968) by the architect
Robert Venturi was a revolt against the ubiquitous glass boxes of the modernists,
and it signaled the emergence of postmodern architecture. Since that time,
architects have found new strength in the traditions of the past, as well as in the
vernacular architecture seen all about them.
Stephen Bayley and Simon Pepper
www.clopotel.ro