10 Make 5 to 6 pages with Annotated Bibliography make sure please look at Grammar USE WHAT YOU HAVE HERE you don’t have to write about the architecture background like when where he born most of the things you going stick with the two building…!! SO MAKE A ARGUMENT for each paragraph do like this As a question (Does Postmodern architecture style is same as Modern architecture style or not) My opinion of course not its different from each other as style because ATT building has arch on front entry that makes a that building become postmodern Also flower window that’s uses in churches makes that postmodern and different levels each other different size scale buildings different usage each places different time period built so can make discussion question like this to make a argument for each paragraph also write about surroundings economic business around there s for each building (postmodern means if you use something from any style from backing centuries Two Different Stories from the Style of Design Introduction The beginning of the postmodern architecture as an international style is cited that it started in the year 1950s, but the architecture did not become a style on its own until the year 1970s. The style is still influencing the modern architectural style[footnoteRef:1]. The formalized together with the functional shapes and space are now being replaced with a diverse aesthetics. As we had many cultural fashions, the most pronounced and the visible ideas of the postmodernism can clearly be seen in architecture. People have also been describing postmodern architecture as the neo-eclectic where we have the reference and ornament that had come to replace the modern architecture that is unornamented. The eclecticism always has a combination of the non-orthogonal angles together with other surfaces that are unusual. In this discussion, we are going to compare two buildings the The AT&T Building, now known as the Sony Tower and the Seagram building. [1: Jun, Ren. "The history of future architecture." The Architect 4 (2008): 004. ] Ludwig Mies van der Rohe  He was born in the year 1886 and died in the year 1969. He was an architect of the German –American origin. He was mainly referred to as mies because it was his surname. Many architects tend to refer to him as the pioneer of the modern architecture[footnoteRef:2]. Mies just like his post-world War I contemporaries, he decided to venture into a new architectural style that was going to change or rather revolutionize the modern times architecture the same way the Gothic and the classical were able to do in their era. He managed to create the twentieth architectural style that was going to represent the modern styles in architecture having extreme simplicity and clarity. [2: hadidZaha architects. ZahaHadid., 2014. ] Mies was constructing mature buildings that were made of modern materials including the plate glass that was defining the interior spaces and the industrial st.

1. 10
Make 5 to 6 pages with Annotated Bibliography make sure
please look at Grammar
USE WHAT YOU HAVE HERE you don’t have to write about
the architecture background like when where he born most of
the things you going stick with the two building…!!
SO MAKE A ARGUMENT for each paragraph do like this As a
question (Does Postmodern architecture style is same as Modern
architecture style or not) My opinion of course not its different
from each other as style because ATT building has arch on front
entry that makes a that building become postmodern Also
flower window that’s uses in churches makes that postmodern
and different levels each other different size scale buildings
different usage each places different time period built so can
make discussion question like this to make a argument for each
paragraph also write about surroundings economic business
around there s for each building (postmodern means if you use
something from any style from backing centuries
Two Different Stories from the Style of Design
Introduction
The beginning of the postmodern architecture as an
international style is cited that it started in the year 1950s, but
the architecture did not become a style on its own until the year
1970s. The style is still influencing the modern architectural
style[footnoteRef:1]. The formalized together with the
functional shapes and space are now being replaced with a
diverse aesthetics. As we had many cultural fashions, the most
pronounced and the visible ideas of the postmodernism can
clearly be seen in architecture. People have also been describing

2. postmodern architecture as the neo-eclectic where we have the
reference and ornament that had come to replace the modern
architecture that is unornamented. The eclecticism always has a
combination of the non-orthogonal angles together with other
surfaces that are unusual. In this discussion, we are going to
compare two buildings the The AT&T Building, now known as
the Sony Tower and the Seagram building. [1: Jun, Ren. "The
history of future architecture." The Architect 4 (2008): 004.
]
Ludwig Mies van der Rohe
He was born in the year 1886 and died in the year 1969.
He was an architect of the German –American origin. He was
mainly referred to as mies because it was his surname. Many
architects tend to refer to him as the pioneer of the modern
architecture[footnoteRef:2]. Mies just like his post-world War I
contemporaries, he decided to venture into a new architectural
style that was going to change or rather revolutionize the
modern times architecture the same way the Gothic and the
classical were able to do in their era. He managed to create the
twentieth architectural style that was going to represent the
modern styles in architecture having extreme simplicity and
clarity. [2: hadidZaha architects. ZahaHadid., 2014.
]
Mies was constructing mature buildings that were made of
modern materials including the plate glass that was defining the
interior spaces and the industrial steel. He was trying to strive
towards what was an architecture that had a minimum
framework of the structurally ordered balance that happens to
go against the free-flowing open space. He was also referring to
his building as the “stones and bones” mode of architectural
design. He was one person that would seek the rational
approach that was guiding the creative process involving
architecture. Mies was always concerned about the expression
of the spirit regarding the modern era. Mies has an association

3. with the quotation of the aphorisms that says “less is more” he
was also fond of using the phrase “God is in the details.”
The Seagram building
The Seagram building is one of the skyscrapers, and it is
located at 375 Park Avenue that is between the 52 and the 53
Street in the Midtown of Manhattan in the city of New York.
The building was design by a German in the name Ludwig Mies
Van der Rohe while other internal aspects and the lobby were
the design of Philip Johnson including both the brasserie and
the four season’s restaurants. The engineering consultants were
the Severud Associates.
The Seagram building is as tall as 515 feet representing
157m tall and having 38 stories. The building was completed in
the year 1958. It is standing as one of the functionalist aesthetic
and a masterpiece of the corporate modernism. It is designed as
the headquarters for the Canadian distillers[footnoteRef:3]. [3:
Desley,Luscombe. "Architectural concepts in Peter Eisenman's
axonometric drawings of House VI." The Journal of
Architecture 19, no. 4 (2014): 560-611.
]
The architecture of Seagram
The international style that the structure was built had an
enormous influence when it came to the American architecture.
The structure had one of the characteristic traits that were
aiming at expressing or rather articulating the structure of
building externally. The structure was clearly arguing that
functional utility of a particular building structural element
when are made visible they have the ability to supplant what is
a formal decorative articulation, and it will be able to more
honestly converse with the general public better than a system
that has applied ornamentals. It was showing the importance of
allowing the structural elements of a building to be visible. The
Seagram building, just like any other building that was
constructed at that time was made of the steel frame. The non-

4. structural glass walls were hanging from that steel frame.
During the construction, the architecture was preferring that the
steel frame be visible something that the USA building codes
require that all the structures that have steel should be covered
with a fireproofmaterial, and they normally use concrete. The
improperly protected steel tends to fail when we have a
confined fire[footnoteRef:4]. The architecture was trying to
argue that the concrete was hiding the structure of the building,
and Mies was trying to avoid this at all cost. He went ahead to
use the non-structural bronze-toned I-beam so that he could
suggest the structure. The use of these materials made them
visible from outside, and they were running vertically just like
the Mullions that happen to be surrounding the large glass
windows. It is now common practice in construction for people
to use the interior reinforced concrete so that they can support a
larger non-structural edifice. As we look at the design of the
Seagram, it took approximately 1500 tons in the construction of
the skyscraper[footnoteRef:5]. [4: Mark,Wigley. White walls,
designer dresses: the fashioning of modern architecture. MIT
Press, 2001.
] [5: Ibid]
After the construction of the skyscraper, it was discovered
that it was the most expensive skyscraper at the time because of
the use of the high-quality material that were expensive. The
lavish interior decorations that were including the travertine,
bronze, and marble made it even more expensive. The only
faced that he did not like the disordered irregularity regarding
the windows when they are drawn. He had no control over it as
people use windows at different times, and they tend to draw
the blinds at different heights and these tend to make the
windows appear disorganized.
The 38-story structure combined a steel moment frame and
steel and reinforced concrete that was used for the stiffness of
the laterals. The core shear that was made of steel had an
extension up to the 17thfloor, and a diagonal core bracing was

5. extending to the 29th floor. It was the first sky crapper to use
the high strength bolted connections. It was also the first tall
building to have a combination of moment frame and the braced
frame. It was again the first tallest building to have a concrete
lateral made from composite steel. All these observations were
made by the Severud Associate, who was the structural
engineers[footnoteRef:6]. [6: BernardTschumi, and Irene
Cheng, eds. The State of Architecture at the Beginning of the
21st Century. Monacelli Press, 2003.
]
Philip Johnson
Philip Cortelyou Johnson was born in the year 1906 and
died in the year 2005. Philip was one of the influential
architects in America. He was known for the postmodern work
since the years of the 1980s he was the founder of the
architecture and design department in the Museum of Modern
Art in the city of New York. In the year 1978 he managed to
scoop the award of the American Institute of Architects and the
following year he won the Pritzker Architecture Prize. In the
year 1961, he won the election into the NationalAcademy of
designs.
The Sony Plaza
It was formerly known as the AT&T building, and it is 647
feet that are 197m tall. The building has 37-story, and it is also
called a sky scrapper. The building is located at the 550 of the
Madison Avenue and is between the 55th and the 56th street in
the city of New York the City borough of Manhattan. Currently,
the building is the headquarter of the Sony Company. The
design of the building was done by Philip Johnson together with
his partner John Burgee, and it was complete in the year 1984.
It was able to stir a lot of controversy regarding its ornamental
top, and people would sometimes refer to it as the Chippendale.
It had one of the spectacular arched entranceways that was big
and measuring approximately seven stories regarding the height.
Having these many ornamental additions on it, it was presenting

6. a major challenge to many of the modern architects. The effect
that the building was having to the eyes of the public has ended
up to be described as a way of legitimizing what people were
calling the postmodern architecture.
The AT&T building
In the year 1978, the building got permission to be able to
add approximately 81,928 square feet that are exactly
(7,611.4m^2). It is equivalent to some four-floor space on what
was the proposed building. It was a deal to enable the AT&T to
provide be able to provide public open space and some other
three story communication museum. The firm was then awarded
extra 43,00 square feet that are exactly 4,000m^2 that was about
worth two floors as a bonus for agreeing to create 14,00-square-
foot along the Madison Avenue that was going to include both
the sitting and the retail kiosks. In the year 1984, the firm
changed its mind that it won’t be able to build the museum as it
was earlier agreed.
The AT&T was granted a tax break of about $42 million
but is was under the condition that the Company was going to
keep the headquarters at 550 Madison Avenue, and it will not be
renting out that space for the other tenants. Because the
Company had decreased in size in a substantial way, the firm
had to sign a 20-year lease agreement on Madison with the Sony
Company, and they had to relocate their headquarters to 32 6th
Avenue that was between the Lispenard and WalkerStreet.
After a while, the Sony Company was granted that option of
purchasing the building.
The Sony Building
The Sony building has the modernist body that has a
classical foot and sports a variously and large defined
ornamental as the head. It has a referential of the
anthropomorphism and also a bond with the with the grand New
York architecture of the skyscrapers[footnoteRef:7]. It is also
exemplified by the Chrysler Building and Empire State that had

7. flourished in the past before the taking over of the nihilism of
the Miesian box. The base of the building is having its model in
the New York municipal building that is created by the
classicizing firm of the Mckim, Mead, and White in the year
1908. The architectural decoration on the base of the building is
indicating a dense evocation of sacred buildings[footnoteRef:8].
[7: James,Steele. Architecture and computers: action and
reaction in the digital design revolution. Watson- Guptill
Publications, Inc., 2001.
] [8: Daniel,Libeskind. Daniel Libeskind: the space of
encounter. Universe, 2000.
]
Many people are referring to the building as the unique fusion
of aesthetic rebellion and the corporate commerce. It was
referring that the building had less architectural than it was a
logo and it was also having a less art of work with more hood
ornaments. The method that Philip Johnson was trying to bring
out was the one involving a pure form of modernist architecture.
Similarities
There were marked similarities concerning these two building
and the architects behinds the building. Both Mies and Philip
were trying to use the modernist forms of architecture. In most
of their buildings they were using the modern materials in the
process of construction of the buildings. Regarding the
building, they tend to build buildings that are tall capitalizing
on the modern resources. They try to make their building as
strong as possible. Both the Sony and the Seagram are
skyscrapers a clear indication that these are architects that value
modernist architecture.
Conclusion
The modernist architecture has the habit of branding the
postmodernism architecture as being vulgar. The modernist
believes that the postmodernism architecture was associated

8. with the populist ethics. The postmodern architecture tends to
refer to the modern building as bland, soulless, abstract and
overly simplistic[footnoteRef:9]. The contrast was clear in the
juxtaposition of the grays against the whites. The whites were
serious about the continuation process of the modernism
tradition of clarity and purism. The grays, on the other hand,
were trying to embrace a more multifaceted cultural vision. The
divergence that was taking place between the gray and the white
was leading to different goals. When we look at modernism, we
can see that it is focusing on the minimization and the true
usage of the available materials together in the absence of the
ornaments. The postmodernism, on the other hand, is side to be
the rejections of the strict rules that tend to exist having been
set early by the modernists. The postmodernism also seeks
expression and meaning when it comes to the forms, building
techniques and other different styles[footnoteRef:10]. [9:
Hvattum, Mari, and Christian Hermansen. Tracing modernity:
manifestations of the modern in architecture and
the city. Routledge, 2004.
] [10: Bao-tong, L. I. "Comparison between Rem Koolhaas
and Le Corbusier [J]."Shanxi Architecture 2 (2008): 026.
]
New trends are now becoming evident in the 20th century
when many of the architects were now turning away from the
modern functionalism. The architects were claiming that the
modern functionalism is boring, and many people were
considering it as unpleasant and unwelcoming.
When we look at the example of works of Rem Koolhaas
and Santiago Calatrava, we can clearly see marked differences.
Calatrava between the years 1989 to 1991, he was able to build
a Montjuic Communication Tower. The Tower is slender and
made of steel standing at 136meters tall. The tower has a brick
foundation that holds the telecommunication
equipment[footnoteRef:11]. When you look at the design arched
entrance, it looks like a human eye. The base is also covered

9. with what is a ceramic shard that happens to be trencadis a kind
of a mosaic technique. The modernist architecture was mostly
using the kind of technique in this building. [11: Lefaivre,
Liane, and Alexander Tzonis. Critical regionalism: Architecture
and identity in a globalized world. Munich: Prestel, 2003.
]
Bibliography
Libeskind, Daniel. Daniel Libeskind: the space of encounter.
The universe, 2000.
Luscombe, Desley. "Architectural concepts in Peter Eisenman's
axonometric drawings of House VI." The Journal of
Architecture 19, no. 4 (2014): 560-611.
Hvattum, Mari, and Christian Hermansen. Tracing modernity:
manifestations of the modern in architecture and the city.
Routledge, 2004.
Peter Eisenman, Great Buildings Online. Accessed September
19, 2008
Steele, James. Architecture and computers: action and reaction
in the digital design revolution. Watson-Guptill
Publications, Inc., 2001.
Tschumi, Bernard, and Irene Chengeds. The State of
Architecture at the Beginning of the 21st Century.
Monacelli Press, 2003.

10. Wigley, Mark. White walls, designer,dresses the fashioning of
modern architecture. MIT Press, 2001.
ZahaHadidArchitects.ZahaHadid., 2014.