Far Eastern University

Institute of Architecture and Fine Arts

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Week 13.
Topic: MAN AND THE NEW SOCIETY: MODERNISM

Overview
The topic shall cover historical developments that paved the way for the blossoming of modern architecture and the
different styles that arose out of it. To be discussed are the notable artists, architects, builders and pioneers of the 20th
century decorative arts movement and pro-modern architecture and design and their contributions.

Objectives
At the end of this lesson, the learner should be able to:
• Know and understand modern architecture;
• Draw and write about notable architectural types/examples from 19th century modern architecture; and,
• Identify and discern stylistic features of different architectural types/examples built during this period.

References
• Burden, Ernest E., Illustrated Dictionary of Architecture. New York: McGraw-Hill, c2012.
• Ching, Francis, A Visual Dictionary of Architecture. Hoboken, N.J.: Wiley, c2012.
• Cruickshank, Dan, Sir Banister Fletcher’s A History of Architecture (Twentieth Edition). Oxford: Architectural
Press, c1996
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Week 14.
Topic: MAN AND THE NEW SOCIETY: MODERNISM

The objectives of the discussion are to tackle the following:

1. Introduction
2. What led to Modernism
3. Origins
4. Architects behind their notable works
5. Context and Characteristics of Modern Architecture

What is MODERNITY?
it means present, or current, implying as its opposite the notion of earlier, of what is past.

A second meaning of the word is the new, as opposed to the old.

Birth of Modern Architecture

New materials, technology & needs were drastically changing the profession of architecture.
• Breaking free from ancient Greek & Roman Prototypes (rejection of the traditional neoclassical architecture).
• The changing face of the growing cityscape.
• The rise of skyscrapers.
• America comes into focus as a budding center of modern design (Empire State Building 1931).

Geometry to live in:

• Victorian homes were bulky & complicated & Modernist architects changed all that.
• Gone were the historical ornament designs. The goal was now ‘simple’ & clean designs.
• Science & industry was the new ‘religion’. The house became a ‘machine for living’.
• Rise of an International Style.

The common characteristics of the Style includes:

1. A radical simplification of form
2. A rejection of ornament
3. Adoption of glass, steel & concrete

What led to MODERNISM?

1. Population increase.
2. Industrialization led Urbanization and massive building exercise.
3. New materials for building.
4. World War I (1914-18) & World War II (1939-45).
5. World War II and End of Colonialism.
6. New Typologies – Railway Station, Department Store, Office, Apartment towers, Factories, Dams and
Airports.
7. New Clients – Municipalities, cooperatives, institutions, social group.
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START OF A MOTOR AGE

NEW MATERIAL AND TECHNOLOGY

ORIGINS

The revolution in materials came first, with the use of

1. cast iron
2. plate glass
3. reinforced concrete, to build structures that were stronger, lighter and taller.

The cast plate glass process was invented in 1848, allowing the manufacture of very large windows.
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The Crystal Palace, 1851 (iron and plate glass construction & metal curtain wall)

These developments together led to the first steel framed skyscraper, the ten-story Home Insurance Building in
Chicago, built in 1884.

The iron frame construction of the Eiffel Tower, then the tallest structure in the world.

EARLY MODERNISM IN EUROPE

At the end of the 19th century, a few architects began to challenge the traditional Neoclassical styles that dominated
architecture in Europe and the United States.

Glasgow School of Art (1896-99)

by Charles Rennie Macintosh, had a facade dominated by large vertical bays of windows.

Art Nouveau (1890)

by Victor Horta in Belgium; it introduced new styles of decoration, based on vegetal and floral forms.

Antonio Gaudi
conceived architecture as a form of sculpture; had no straight lines; it was encrusted with colorful mosaics of stone
and ceramic tiles.

Paris Auguste Perret and Henri Sauvage.

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began to use reinforced concrete, previously only used for industrial structures, to build apartment buildings.

The Glasgow School of Art by Charles Rennie MacIntosh (1896–99)

RCC building by Auguste Perret, Paris (1903)

The Théâtre des Champs-Élysées in Paris by Auguste Perret (1911-1913)

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Stepped RCC building in Paris (1912-1914)

Austrian Postal Savings Bank in Vienna by Otto Wagner (1904-1906)

The Steiner House in Vienna by Adolf Loos (1910)

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ART AND CRAFT MOVEMENT
• The arts and crafts movement was made up of English designers and writers who wanted a return
to handcrafted goods instead of mass-produced.
• Artists tried to re-establish the ties between work and the worker.
• The Arts and Crafts Movement initially developed in Britain around 1880 and quickly spread across
America and Europe before emerging finally as the Mingei (Folk Crafts) movement in Japan.
• It established a new set of principles for living and working.
• It turned the home into a work of art.

ARTISTS AND ARCHITECTS

1. William Morris

2. John Ruskin
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3. Philip Web

4. Charles Robert Ashbee

“to re-establish a harmony between architect, designer and craftsman and to bring handcraftsmanship to the
production of well-designer, affordable, everyday objects.”

Inspired by socialist principles and led by William Morris, the members of the movement used the medieval system of
trades and guilds to set up their own companies to sell their goods. Unfortunately, it had the reverse effect and, apart
from the wealthy middle classes, hardly anyone could afford their designs.

Inspired by socialist principles and led by William Morris, the members of the movement used the medieval system of
trades and guilds to set up their own companies to sell their goods. Unfortunately, it had the reverse effect and, apart
from the wealthy middle classes, hardly anyone could afford their designs.

Visually, the style has much in common with its contemporary art played a role in the founding of Bauhaus and
modernism.

Principle of arts craft movement

• Honesty
• Design unity
• Joy in labor
• Individualism
• Regionalism (use of local material and crafts men)

Social reforms intended

• Change in Working condition
• Belief in restorative power of craftsmanship
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• Simple life
• Art as a way of life

Characteristics with movement

• handmade
• simple forms with little ornamentation
• beauty of natural materials
• copper and pewter - often with a hammered finish
• stylized flowers, allegories from the Bible and literature, upside down hearts, Celtic motifs.

RED HOUSE by PHILIP WEB

The Red House was merely the first of a series of houses in which he endeavored to engender an authentic historical
style, through the direct expression of local materials and craftsmanship.

Webb adopted the Gothic Revival, that is, clay tiling, corbelled brick work, rubbed brick arches and circular openings,
as a way of articulating an open-ended form of vernacular expression “.

• The house was built of deep red brick laid in the English bond.
• It had two storeys and was L shaped. The roof was steep with tall chimney stacks.
• In the halls were cupboards painted by Burne- Jones with stained glass by Morris and Burne-Jones.
• Dark red tiles covered the floor.
• The walls of the principal bedroom were hung with embroidered serge, a craft Morris taught his wife.
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ART NOUVEAU (1860-1910)

• Art Nouveau is French and means New

Art. It is characterized by its highly decorative
style and by the dedication to natural forms.
• Art Nouveau was popular from about 1880
to 1910 and was an International art movement.
• Siegfried Bing (later called Samuel Bing)
was the founder in 1895 of " La Maison de l'Art
Nouveau " in Paris:
• It was his art gallery and exhibition hall
that gave its name to the famous artistic Style Art
Nouveau.
• The movement was committed to abolishing the traditional hierarchy of
the arts, which viewed so called liberal arts, such as painting and sculpture,
as superior to craft-based decorative arts.
• The practitioners of Art Nouveau
sought to revive good workmanship, raise
the status of craft, and produce genuinely
modern design.

• It was characterized by an elaborate ornamental style based on

asymmetrical lines, frequently depicting flowers, leaves, or in the flowing
hair of a female.
• It can be seen most effectively in the decorative arts, for example interior
design, glasswork and jewelry.
• However, it was also seen in posters and illustration as well as certain
paintings and sculptures of the period.
• Art Nouveau did not survive maybe because of the high World War I,
prices for Art Nouveau objects.
• With the philosophical roots in high quality handicraft, Art Nouveau was
nothing for mass production.

PRINCIPALS OF ART NOUVEAU STYLE:

• flat, decorative patterns;
• intertwined organic forms such as stems or flowers;
• an emphasis on handcrafting as opposed to machine manufacturing;
• the use of new materials; and
• the rejection of traditional styles

CHARACTERISTICS:
• Asymmetrical shapes
• Extensive use of arches and curved forms
• Curved glass
• Curving, plant-like embellishments
• Mosaics
• Stained glass
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• Japanese motifs

Classification:

Pierre Francastel divides Art Nouveau into two main tendencies that could broadly termed the organic and the
rationalist.

Rationalist example:

Mackintosh school Glasglow,

Scotland 1897-1909-dependent
on the straight line.

Organic example:

Gaudi, Barcelona, Spain1903-

gives precedence to the curved
line and floral shapes.

Examples of different Classifications:

1. Henry Van de Velde’s
house.
An abstract, structural style
with a strong symbolic and
dynamic tendency (France
& Belgium) (Horta,
Guimard, Van de Velde).

2. Aquarium Pavillion.
A floral approach focusing
on organic plant forms
(Galle, Majorelle, Vallin,
gaudi).

3. Glasgow School of Art by

Charles Rennie Mackintosh.
The linear, flat approach, with
a heavy symbolic element
(Glasglow group,
Mackintosh).

4. Majolikahaus in Vienna by
OttoWagner.
A structured, geometric style
(Austria & Germany,usa)
(Wagner, Olbrich, Hoffmann,
Loos ,Sullivan).
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VICTOR HORTA (1861 –1947)
Horta museum

ANTONI GAUDÍ (1852 –1926)

Casa Mila
Sagrada Familia

CHARLES RENNIE MACKINTOSH (1868 –1928)

Argyle chair
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EARLY MODERNISM IN EUROPE

Peter Behrens (industrial designer)

• the AEG turbine factory (1909), a functional monument of steel and

concrete in Berlin.

Adolf Meyer and Walter Gropius (who had both worked for Behrens)
• built another revolutionary industrial plant, the Fagus factory, a
building without ornament where every construction element was
on display.

EARLY MODERNISM IN AMERICA

Frank Lloyd Wright
(1887)
• Was an independent American architect who refused to be categorized in any one architectural movement.
• Like Le Corbusier and Ludwig Mies van der Rohe, he had no formal architectural training.
• In 1887-93 he worked in the Chicago office of Louis Sullivan.
• famous for his Prairie Houses.

INFLUENCE ON USA- ORGANIC ARCHITECTURE

“The idea that every country should have an architecture that reflects its own particular history, geography and
climate was central to the Arts and Crafts movement”
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“It is building the way nature builds.”

• The term ORGANIC ARCHITECTURE was invented by great Architect Frank Lloyd Wright (1867- 1959).
• Although the word “Organic” usually refers plants or animals or anything related to nature but his interpretation was
an idea which was to promote harmony between manmade structure and nature around through design approach as
a unified composition.

• He believed that building should complement its environment, building should work as a cohesive organism.

How he defined Organic Architecture changed often, as he refined it, and also as the situation demanded.
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• Integral to Site - houses designed to rise up out of the site as it belonging.
• Integral to environment - built appropriately to climate.
• Integral to Individual - Each building built to accommodate the lifestyle of the inhabitants way of life and needs.
• Integral to Materials - details of the building were the materials themselves.

EARLY MODERNISM IN AMERICA

The Birth of Skyscraper

• At the end of the 19th century, the first skyscrapers began to appear in the United States.
• They were a response to the shortage of land and high cost of real estate in the center of the fast-growing
American cities, and the availability of new technologies, including fireproof steel frames and improvements
in the safety elevator invented by Elisha Otis in 1852.

Louis Sullivan
• He was known as the father of skyscraper.
• His buildings were revolutionary in their steel frames and height, the designs of their facades were in the
more traditional neo-renaissance, Neo- Gothic.

• The Woolworth Building, designed by Cass Gilbert, 1912, complete with decorative buttresses, arches and
spires, which caused it be nicknamed the "Cathedral of Commerce."
• The Woolworth Building and the New York skyline in 1913. It was modern on the inside but neo-Gothic on
the outside.

CHICAGO SCHOOL OF ARCHITECTURE late 19th century

• Also Known as Commercial style, the Chicago school was a school of architects
active in Chicago
at the turn of the 20th century.

To promote the new technologies of steel- frame construction in commercial

buildings.

• Architects were encouraged to build higher structures because of the escalating

land prices.
• Isolated footing supported a skeleton of iron encased in masonry
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• There were: fireproof floors, numerous fast elevators and gas light.
• The traditional masonry wall became curtains, full of glass, supported by the metal skeleton.
• The first skyscrapers were born.

INFLUENTIAL ARCHITECTS
1. Adler
2. Sullivan
3. Le Baron Jenney
4. Burnham

CHARACTERISTICS

• Bold geometric facades pierced with either arched or lintel-type openings.

• The wall surface highlighted with extensive low-relief sculptural ornamentation in terra cotta.
• Buildings often topped with deep projecting eaves and flat roofs.
• The multi-story office complex highly regimented into specific zones or ground story, intermediate
floors, and the attic or roof.
• Large arched window or Vertical strips of windows
• Decorative band
• Pilaster-like mullions
• Projecting eaves (the under part of a sloping roof overhanging a wall)
• Highly decorated frieze
• Decorated terra cotta spandrels
• Capital of pilaster strips
• Foliated and linear enrichments along jambs or entry.
• much larger windows used - daylight reaching interior spaces.
• Interior walls became thinner - which created more usable floor space.
• Sullivan changes that came with the steel frame, creating a grammar of form for the high rise
(base, shaft, and pediment)
• •The mass production of steel
• This new way of constructing buildings, so-called "column-frame” construction.
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Chicago’s Auditorium
Carsons Pirie Scott & Co

THE RISE OF MODERNISM (1919-1930)

•By the late 1920s, modernism had become an important movement in Europe. Architecture, which previously had
been predominantly national, began to become international.

•The architects traveled, met each other, and shared ideas. Several modernists, including Le Corbusier, had
participated in the competitions.
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After World War I

The group of
• Le Corbusier

• Walter Gropius

• Ludwig Mies van der Rohe

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• Konstantin Melnikov

wanted only pure forms and the elimination of any decoration.

And the

Art Deco Architects

• Auguste Perret

• Henri Sauvage

made a compromise between the two, combining modernist forms and stylized decoration.

GERRIT RIETVELD
Rietveld Schröder House, Nederlands (1924)

PURISM 1918 -1925

• Purism & Le Corbusier in collaboration with the artist Amédée Ozenfant, he developed a new theory called
Purism where architecture would be as efficient as a factory assembly line.
• The code of purist rules would be to refine and simplify design, dispensing with ornamentation.
• Many of his ideas were documented in his book "Towards a New Architecture", He called his private homes
“machines to be lived in” and their importance was based on a balance of aesthetics, the mental and social
wellbeing of humans, light, air and harmony.
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• Designed furniture that was lines are clean, straight and precise. The golden ratio was the ideal shape, and
that is reflected in their work.

Le Corbusier was the pioneer of modernism in architecture and laid foundation to what is known as Bauhaus
Movement or International style.

He formed the five points of architecture which were the guiding principles for many architects.

1. PILOTIS
2. FREE FAÇADE
3. RIBBON WINDOW
4. OPEN FLOOR PLAN
5. ROOF TERRACE

STUTTGART HOUSE, LE CORBUSIER

BAUHAUS 1919-1933
• The Bauhaus, an innovative German school of art and design was founded in 1919 by Walter Gropius.
• The name Bauhaus stems from the German words for "to build" and "house.”
• Bauhaus is a school in Germany that combined crafts and the fine arts.
• Ironically, despite its name and the fact its founder was an architect, the Bauhaus did not have an
architecture department for the first several years of its existence.
• The school uses a foundations course and workshop experiences to train students in theory and form,
materials, and methods of fabrication.

FOUNDERS:
1. WALTER GROPIUS
2. LUDWIG MIES VAN DER ROHE
3. HANNES MEYER
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• The goal was to unify art and technology.

• Building Types: schools, offices, and government buildings.
• The most important construction materials include steel, glass, and reinforced concrete, sometimes
a brick masonry applied on the face of the concrete.
• Bauhaus Is Enclosed by Glass Curtains
• The Whole Cube Seems Like to Immense Horizontal Plains Floating on the Ground. Bauhaus Is
Enclosed by Glass Curtains.
• The High Glass Walls Revealing the Light Steel Structure Delineated in all its Transparency by The
Iron Grid of Its Exterior Structure.

Notable CHARACTERISTIC of Bauhaus

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1. Smooth surfaces.
2. Grid forms.
3. Horizontal planes.
4. Simple facades without any ornamentation.
5. Primary colors, black, gray, beige and white.

Language of German buildings

“You must walk around the building to understand its materiality and function of its various elements.”
By Gropius

PRODUCT DESIGNING:

Bauhaus Door Knob

Arguably the most famous piece designed by Walter Gropius, the Bauhaus doorknobs geometric forms and industrial
flourishes, such as exposed screws, set the tone for what the Bauhaus aesthetic was about.

Bauhaus Lamp
Probably the most iconic piece of lighting to come out of the Bauhaus, William Wagenfeld's lamp, constructed of
precisely cut glass and metal, is among the first objects to emerge
under the Bauhaus' technology-focused regime.
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Bauhaus Tea Infuser

Designed in 1924 by Marianne Brandt, the Bauhaus tea infuser has a built-in strainer, nondrip spout, and heat-
resistant handle made of ebony, embracing the school's principals of combining functionality and aesthetic.

Barcelona Chair
Designed in 1929 by future Bauhaus head Ludwig Mies van der Rohe and partner Lily Reich, the gentle, swooping
lines Barcelona chair served as a precursor of what was to come with the mid-century modern furniture movement.

GROPIUS CHAIR
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Bauhaus Wasilly Chair
Of all the chairs to come out of the Bauhaus, this is the one that commonly comes to mind. Designed my Marcel
Breuer, the Wasilly chair is a mix of steel and leather, using no more material than is absolutely needed, while
providing maximum comfort. It's a design you'll still find in homes today.

Marcel Breuer chair, one of the very first tubular steel chairs, designed in 1925.

Bauhaus Chess Set

Designed in 1922 by Josef Hartwig, the best part about the chess pieces is that the design of each also indicates the
type of movement it is capable of.
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Bauhaus Nesting Tables
Nothing quite says "smart" like five separate tables that fit into
the footprint of one. And the use of colors with each table is
something that would be revisited by Ray and Charles Eames decades later.

Bauhaus Cradle
The Bauhaus Cradle emerged in the early days of the German design school, but the simplicity of this magazine
holder, both with regard to the form and colors used, doesn't undermine the inherent playfulness of the design.
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ART DECO

• Art Deco, is an eclectic artistic and design style that began in

Paris in the 1920s and flourished internationally throughout the
1930s and into the World War II era.
• The style influenced all areas of design, including architecture and
interior design, industrial design, fashion and jewelry, as well as
the visual arts such as painting, graphic arts and film.
• Art Deco is characterized by use of materials such as aluminum,
stainless steel, lacquer, Bakelite, Chrome and inlaid wood.
• The use of stepped forms and geometric curves (unlike the
sinuous, natural curves of Art Nouveau), chevron patterns,
ziggurat shapes, fountains, and the sunburst motif are typical of
Art Deco.

Examples of art deco style

The Mossehaus
La Samaritaine Department store façade
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THE CHRYSLER BUILDING , William Van Alen; built 1928–30

WORLD WAR II –Wartime innovation & Postwar Reconstruction (1939-45)

Destroyed by Bombing due to war (Le Havre) -1943-44
The center of Le Havre as reconstructed by August Perret (1946-1964)

WORLD WAR II –Wartime innovation & Postwar Reconstruction (1939-45)

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• This war was a major factor in driving innovation in building technology, and in turn, architectural
possibilities.
• The wartime industrial demands resulted in shortages of steel and other building materials, leading to the
adoption of new materials, such as aluminum.
• The war and postwar period brought greatly expanded use of prefabricated building; largely for the military
and government.
• The postwar housing shortages in Europe and the United States led to the design and construction of
enormous government-financed housing projects, usually in run-down center of American cities, and in the
suburbs of Paris and other European cities, where land was available.

INTERNATIONAL STYLE OF ARCHITECTURE

Illinois Institute of Technology campus. Designed by Ludwig Mies van der rohe

INTERNATIONAL STYLE that developed in Europe and the United States in the 1920s and ’30s and became the
dominant tendency in Western architecture during the middle decades of the 20th century International Style.

The most common characteristics of International Style buildings are rectilinear forms; light, taut plane surfaces.

The term International Style was first used in 1932 Architecture Since 1922, which served as a catalogue for an
architectural exhibition held at the Museum of Modern Art.

HENRY RUSSEL HITCHCOCK AND PHILIP JOHNSON INTRODUCED THIS AND

ENTITELD THIS STYLE.

MOMA (museum of modern art) modern architecture international style exhibition in 1932 is known as the most
influential event in the history of architecture.

CHARACTERISTICS
• The typical characteristics of International Style buildings include rectilinear forms; plane surfaces
that are completely devoid applied ornamentation; and open, even fluid, interior spaces.
• This early form of minimalism had a distinctively "modern look", reinforced by its use of modern
materials, including glass for the facade, steel for exterior support, and concrete for interior
supports and floors.
• A style which is an elegant mixer of various USA and Europe architecture styles.
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Example:
Seagram Building, New York,

Farnsworth House, Illinois

LUDWIG MIES VAN DER ROHE SEAGRAM BUILDING

IDEOLOGY AND ARCHITECTURE: “LESS IS MORE.” And “GOD IS IN THE DETAILS.”

• Architect Ludwig Mies van der Rohe (1886–1969) adopted the motto "Less is more" to describe his
aesthetic tactic of arranging the necessary components of a building to create an impression of
extreme simplicity—he enlisted every element and detail to serve multiple visual and functional
purposes.

• He called his buildings "skin and bones" architecture. He sought an objective approach that would
guide the creative process of architectural design.
• Mies's second famous dictum is that 'God is in the details.' expressing the idea that whatever one
does should be done thoroughly.
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LUDWIG MIES VAN DER ROHE BARCELONA PAVILION

BRUTALISM

Brutalism is a style with an emphasis on materials, textures and construction, producing highly expressive forms.

BRUTALISM
• Brutalist architecture is a movement in architecture that flourished from the 1950s to the mid-1970s,
descending from the modernist architectural movement of the early 20th century.
• Consider Brutalism as architecture in the raw, with an emphasis on materials, textures and construction,
producing highly expressive forms.
• Also called New Brutalism, it encouraged the use of Beton brut means (raw concrete), in which patterns
created by wooden shuttering are replicated through board marking.
• Scale was important and the style is characterized by massive concrete shapes colliding abruptly, while
service ducts and ventilation towers are overtly displayed.

CHARACTERISTICS of Brutalism
• Rough unfinished surfaces
• Unusual shapes
• Heavy-looking materials
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• Massive forms
• Small windows in relation to the other parts

CONTEXT AND CHARACTERISTIC OF MODERN ARCHITECTURE

Lack of ornament: Decorative moldings and elaborate trim are eliminated or greatly simplified, giving way to a clean
aesthetic where materials meet in simple, well-executed joints.

Emphasis of rectangular forms and horizontal and vertical lines: Shapes of houses are based boxes, or linked
boxes. Materials are often used in well-defined planes and vertical forms juxtaposed against horizontal elements for
dramatic effect.
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Low, horizontal massing, flat roofs, emphasis on horizontal planes and broad roof
overhangs: Modern homes tend to be on generous sites, and thus many, but not all, have to have meandering one-
story plans. Many examples hug the ground and appear of the site, not in contrast to it.

Use of modern materials and systems: Steel columns are used in exposed applications, concrete block is used as
a finished material, concrete floors are stained and exposed, long span steel trusses permit open column-free
spaces, and radiant heating systems enhance human comfort.

Use of traditional materials in new ways: Materials such as wood, brick and stone are used in simplified ways
reflecting a modern aesthetic. Traditional clapboard sidings are replaced with simple vertical board cladding used in
large, smooth planes. Brick and stonework are simple, unornamented, and used in rectilinear masses and planes.

Emphasis on honesty of materials: Wood is often stained rather than painted to express its natural character. In
many cases exterior wood is also stained so that the texture and character of the wood can be expressed.

Relationship between interior spaces and sites: Use of large expanses of glass in effect brings the building’s site
into the building, taking advantage of dramatic views and natural landscaping.

Emphasis on open, flowing interior spaces: Living spaces are no longer defined by walls, doors and hallways.
Living, dining and kitchen spaces tend to flow together as part of one interior space, reflecting a more casual and
relaxed way of life.

Generous use of glass and natural light: Windows are no longer portholes to the outside, but large expanses of
floor to ceiling glass providing dramatic views and introducing natural light deep into the interior of homes.

Use of sun and shading to enhance human comfort: The best modern homes are efficient. They are oriented to
take advantage of nature’s forces to provide passive solar heating in the winter, while long overhangs and recessed
openings provide shading to keep homes cool in the summer.

Examples are:

• Pyramid of the Louvre Museum in Paris by I.M. Pei (1983–89)

• Auditorium of the University of Technology, Helsinki, by Alvar Aalto (1964)
• Sainte Marie de La Tourette in France by Le Corbusier (1956–60)
• Interior of the Luis Barragán House and Studio in Mexico City, by Luis Barragan (1948)
And East Wing of the National Gallery of Art in Washington, D.C., by I M. Pei (1978)