This painting by Claude Monet depicts a sunrise scene at the port of Le Havre, France. In the foreground are two small rowboats, with fishing boats and larger ships like clippers and steamships in the middle and background. Monet painted the scene to capture the contrast of traditional fishing alongside the modern industry symbolized by steamboats and cranes, representing France's regeneration after recent defeat in war. The painting helped give rise to the Impressionist movement with its focus on capturing fleeting light and atmospheric effects over meticulous detail.

1. David Bernini
Artist Gian Lorenzo Bernini
Year 1623–24
Catalogue 17
Type Sculpture
Material Marble
Subject David
Dimensions 170 cm (67 in)
Location Galleria Borghese, Rome
Style Baroque
David is a life-size marble sculpture by Gian Lorenzo Bernini.
The sculpture was one of many commissions to decorate the
villa of Bernini's patron Cardinal Scipione Borghese
was completed in the course of seven months from 1623 to
1624. The subject of the work is the biblical David, about to
throw the stone that will bring down Goliath, which will allow
David to behead him. Compared to earlier works on the same
theme (notably the David of Michelangelo), the sculpture broke
new ground in its implied movement and its psychological
intensity. The sculpture shows a scene from the Old Testament
First Book of Samuel. The Israelites are at war with the
Philistines whose champion, Goliath, has challenged the
Israelite army to settle the conflict by single combat. The young
shepherd David has just taken up the challenge, and is about to
slay Goliath with a stone from his sling:

2. .
Baldachin By Bernini
Artist: Gian Lorenzo Bernini
Height: 95′
Opened: 1634
Created: 1623–1634
Architectural style: Baroque architecture
Architect: Gian Lorenzo Bernini
St. Peter's Baldachin is a large Baroque sculpted bronze canopy,
technically called a ciborium or baldachin, over the high altar of St.
Peter's Basilica in the Vatican City, the papal enclave surrounded by
Rome, Italy.
The baldachin is at the centre of the crossing and directly under the
dome of the basilica. Designed by the Italian artist Gian Lorenzo
Bernini, it was intended to mark, in a monumental way, the place of
Saint Peter's tomb underneath. Under its canopy is the high altar of
the basilica. Commissioned by Pope Urban VIII, the work began in
1623 and ended in 1634.[1] The baldachin acts as a visual focus within
the basilica; it itself is a very large structure and forms a visual
mediation between the enormous scale of the building and the
human scale of the people officiating at the religious ceremonies at
the papal altar beneath its canopy.

3. Scala Regai
is a flight of steps in the Vatican City and is part of
the formal entrance to the Vatican. It was built by
Antonio da Sangallo the Younger in the early 16th
century, to connect the Apostolic Palace to St.
Peter's Basilica, and restored by Gian Lorenzo
Bernini from 1663 to 1666.
The site for the stairs, a comparatively narrow sliver
of land between church and palace, is awkwardly
shaped with irregular converging walls. Bernini used
a number of typically theatrical, baroque effects in
order to exalt this entry point into Vatican. The
staircase proper takes the form of a barrel-vaulted
colonnade that necessarily becomes narrower at the
end of the vista, exaggerating the distance. Above
the arch at the beginning of this vista is the coat of
arms of Alexander VII, flanked by two sculpted
angels.

4. Piazza st. Peter in Rome

5. • is a large plaza located directly in front of St. Peter's Basilica in the Vatican City
• At the centre of the square is an Egyptian obelisk, erected at the current site in 1586.
Gian Lorenzo Bernini designed the square almost 100 years later, including the
massive Tuscan colonnades, four columns deep, which embrace visitors in "the
maternal arms of Mother Church".
• Bernini had been working on the interior of St. Peter's for decades; now he gave
order to the space with his renowned colonnades, using the Tuscan form of Doric
• not to compete with the palace-like façade by Carlo Maderno, but he employed it on
an unprecedented colossal scale to suit the space and evoke a sense of awe.
• The trapezoidal shape of the piazza, which creates a heightened perspective for a
visitor leaving the basilica and has been praised as a masterstroke of Baroque theate
Continued

6. Fountain of Four Rivers
located in Piazza Navona, the ancient stadium of the Emperor
Domitian and the site of the Pamphilj family palace.

7. The Fountain of the Four Rivers depicts Gods of the four great rivers in the four continents
as then recognized by the Renaissance geographers: the Nile in Africa, the Ganges in Asia,
the Danube in Europe and the Río de la Plata in America.
Each location is further enhanced by animals and plants of that country. The Ganges
carries a long oar, representing the river's navigability. The Nile's head is draped with a
loose piece of cloth, meaning that no one at that time knew exactly where the Nile's
source was. The Danube touches the Papal coat of arms, since it is the largest river closest
to Rome. And the Río de la Plata is sitting on a pile of coins, a symbol of the riches
America might offer to Europe (the word plata means silver in Spanish).
Each River God is semi-prostrate, in awe of the central tower, epitomized by the slender
Egyptian obelisk (built for the Roman Serapeum in AD 81), symbolizing Papal power and
surmounted by the Pamphilj symbol of the dove.
The Fountain of the Four rivers is a theater in the round, whose leading actor is the
movement and sound of water splashing over and cascading down a mountain of
travertine marble. The masterpiece was finally unveiled to the world on June 12, 1651, to
joyous celebration and the inevitable criticisms of the day. Then as today the Fountain of
the Four Rivers continues to amaze and entertain visitors to Rome. Bernini triumphs yet
again!

8. st. Carlo alle Quattro Fontane
Address: Roma, Italy
Groundbreaking: 1638
Architectural type: Church
Architectural styles: Baroque, Baroque architecture
Architect: Francesco Borromini
The church was designed by the architect
Francesco Borromini and it was his first
independent commission. It is an iconic
masterpiece of Baroque architecture, built as
part of a complex of monastic buildings on the
Quirinal Hill for the Spanish Trinitarians, an
order dedicated to the freeing of Christian
slaves.
The concave-convex facade of San Carlo
undulates in a non-classic way. Tall corinthian
columns stand on plinths and bear the main
entablatures; these define the main framework
of two storeys and the tripartite bay division.
The church interior is both extraordinary and
complex. The three principal parts can be
identified vertically as the lower order at ground
level, the transition zone of the pendentives
and the oval coffered dome with its oval lantern

9. Hall of mirrors and bedroom in Versailles

10. The Hall of Mirrors (French: Grande Galerie or Galerie des Glaces) is the
central gallery of the Palace of Versailles in Versailles, France.
As the principal and most remarkable feature of King Louis XIV of
France's third building campaign of the Palace of Versailles (1678–1684),
construction of the Hall of Mirrors began in 1678.To provide for the Hall
of Mirrors as well as the salon de la guerre and the salon de la paix,
which connect the grand appartement du roi with the grand
appartement de la reine, architect Jules Hardouin Mansart appropriated
three rooms from each apartment as well as the terrace that separated
the two apartments.[2][3][7]
The principal feature of this hall is the seventeen mirror-clad arches that
reflect the seventeen arcaded windows that overlook the gardens. Each
arch contains twenty-one mirrors with a total complement of 357 used
in the decoration of the galerie des glaces.[7] The arches themselves are
fixed between marble pilasters whose capitals depict the symbols of
France.[citation needed] These gilded bronze capitals include the fleur-
de-lys and the Gallic cockerel or rooster.

11. Louis XV Fauteuil

12. The Louis XV style or Louis Quinze was a French Rococo style in
the decorative arts, and, to a lesser degree, architecture.
Datable to the personal reign of Louis XV (1723–1774), the
style was characterised by supreme craftsmanship and the
integration of the arts of cabinetmaking, painting, and
sculpture.
French furniture of the period—which typically came in two
sets, a summer and a winter—was highly ornamental, yet
elegant, and designed to mesh with the rest of the home decor.
Orientalia—themes from the Far East—and the fabulous were
the principle thematic expressions, and exotic woods and
marbles were employed to further the effect.

13. Louis XIV Fauteuil
the “Louis” chair has become an emblem of the Golden
Age of the French monarchy and the periods of
decorative arts that aligned with their reigns.
These chairs of great style were referred to as
“Fauteuil”, which means “armchair” in French

27. • Wightwick Manor, Hampton; 1887
• English arts and crafts
• William Morris
• Reacting to the industrial revolution and the man
made product
• Going back to m an made crafts
• Done with imperfections
• Tudor style
• Grand parlor
• Mantel piece on top of fire place;
hand made bas-relief
• Hand painted tile on sides of the
fireplace
• Angle nook seating

28. • Philip Webb 1860
• Sussex arm chair
• Rural design
• Beach wood/ ebonized
• Unwoven rush seat
• Romantic décor/ curved slender armrest
• English arts and crafts
• Sideboard, 1860, Philip Webb
• Designed for Morris and Co.
• Walnut
• Simple adornment of brass
hardware
• Softly add a light touch to
overall essential design/
bottom curves

29. • Bedales school library
• Petersfield, Hampshire, Uk
• Ernest Gimson 1900
• Rustic and combined softness and romance
• Gothic vaulted essence of the ribs
• Each bay side elements reinforcing the overall beams in a
gothic way
• interior is an adaptation of an aisled farm barn
• Ladder-back chair
• Philip Clissett
• was a Victorian country chair maker
• They particularly influenced Ernest Gimson
• 1880’s-on
• Made from elm board/woven rush
• P.C most well known output of chairs

30. • Bookcase of Quartersawn
Oak
• Gustav Stickley, 1890-1900
• Rusty and with surfaces that
look pre-industrial
• Non ornamented; if
ornamented it is simple and
carefully applied
• Mood is conscious and
simple
• Straighter lines to the
furniture
• Lines become
sturdier/massive/ heaviness
• Western part of the US/
mission style
• Stripping away from the
romance
• Morris Chair 1902/Gustav
• Interpretation of previously
designed Morris chair
• Solid bas is taken away
• Lighten it up/ created a
better proportion
• Leather cushions
upholstered
• Reclining angle adjustment
• Limbert and Co 1900
• Close design of the
original Morris chair
• Unproportioned

31. • Sideboard by Stickley
• 1890-1900
• Consciously rustic
• Scale is modest
• Limited pallet/muted tones
• Simple forms of unfinished oak
• American arts and crafts

32. Gauguin Day of God 1894
Set in a Tahitian landscape by the sea, the composition is
divided into three horizontal bands. At the top, islanders
perform a ritual near a towering sculpture. Like many figures in
Gauguin’s Tahitian images, the monumental sculpture was
derived not from local religion but from photographs of carved
reliefs adorning the Buddhist temple complex at Borobudur
(Java). In the middle band, three symmetrically arranged
figures are placed against a field of pink earth in poses that
may signify birth, life, and death. The woman in the center,
formally linked to the sculpture at the top, is similar in
appearance to other depictions of Tahitian females who
Gauguin used to suggest the Christian figure of Eve in paradise.
The lower portion of the composition evokes brilliant,
contrasting hues reflected in the water. Gauguin’s Post-
Impressionist style, defined by a decreasing tendency to depict
real objects and the expressive use of flat, curving shapes of
vibrant color, influenced many abstract painters of the early
20th century.

33. Gauguin what when where 1897
the radical life change
played an important
role in his art, post
expression, symbolic,
religious
Gauguin indicated that the painting should be read from right
to left, with the three major figure groups illustrating the
questions posed in the title. The three women with a child
represent the beginning of life; the middle group symbolizes
the daily existence of young adulthood; and in the final group,
according to the artist, "an old woman approaching death
appears reconciled and resigned to her thoughts"; at her feet,
"a strange white bird...represents the futility of words." The
blue idol in the background apparently represents what
Gauguin described as "the Beyond." Of its entirety he said, "I
believe that this canvas not only surpasses all my preceding
ones, but that I shall never do anything better—or even like it."
The painting is an accentuation of Gauguin's trailblazing post-
impressionistic style; his art stressed the vivid use of colors and
thick brushstrokes, tenets of the impressionists (though the
Impressionists focused on quick brushstrokes), while it aimed
to convey an emotional or expressionistic strength. It emerged
in conjunction with other avant-garde movements of the
twentieth century, including cubism and fauvism.

34. Cezanne, Mt. St. victoire 1897
The Montagne Sainte-Victoire is a mountain in southern
France, overlooking Aix-en-Provence. It became the subject of
a number of Cézanne's paintings.
In these paintings, Cézanne often sketched the railway bridge
on the Aix-Marseille line at the Arc River Valley in the center on
the right side of the picture. Especially, in Mont Sainte-Victoire
and the Viaduct of the Arc River Valley (1885–1887), he
depicted a moving train on this bridge.
Only half a year after the opening of the Aix-Marseille line on
October 15, 1877, in a letter to Émile Zola dated April 14, 1878,
Cézanne praised the Mont Sainte-Victoire, which he viewed
from the train while passing through the railway bridge at Arc
River Valley, as a “beau motif (beautiful motif)”,[1] and, in
about that same year, he began the series wherein he
topicalized this mountain.[2]
These paintings belong to Post-Impressionism. Cézanne is
skilled at analysis: he uses geometry to describe nature, and
uses different colours to represent the depth of objects.

35. Mont Sainte-Victoire (Cézanne)
1887

36. Renoir, Moulin de Galette

37. Edouard Manet Bar At Bergere 1882
Reflection of a mirror , normal simple person responding to the moment
A Bar at the Folies-Bergère. A Bar at the Folies-Bergère
(French: Un bar aux Folies Bergère), painted and
exhibited at the Paris Salon in 1882, was the last major
work by French painter Édouard Manet. It depicts a
scene in the Folies Bergère nightclub in Paris.

38. Fields Of Poppies 1886

39. sunrise 1872
Impression, Sunrise is a painting by Claude Monet. Shown at what would later be known as the "Exhibition of the
Impressionists" in April 1874, the painting is attributed to giving rise to the name of the Impressionist movement.
Impression, Sunrise depicts the port of Le Havre at sunrise, the two small rowboats in the foreground and the red sun
being the focal elements. In the middle ground, more fishing boats are included, while in the background on the left side
of the painting are clipper ships with tall masts. Behind them are other misty shapes that "are not trees but smoke stacks
of packboats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the
sky."[3] In order to show these features of industry, Monet eliminated existing houses on the left side of the jetty, leaving
the background unobscured.
Following the defeat of France in the Franco-Prussian War of 1870-71, the regeneration of France was exemplified in the
thriving port of Le Havre.[6] Art historian Paul Tucker suggests that the contrast of elements like the steamboats and
cranes in the background to the fishermen in the foreground represent these political implications: "Monet may have
seen this painting of a highly commercial site as an answer to the postwar calls for patriotic action and an art that could
lead. For while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a
revitalized France."[3]
The representation of Le Havre, hometown of Monet and a center of industry and commerce, celebrates the "renewed
strength and beauty of the country... Monet’s ultimate utopian statement." Art demonstrating France’s revitalization,
Monet’s depiction of Le Havre’s sunrise mirrors the renewal of France

40. van Gogh wheat field 1889
Van Gogh regarded the present work as one of his “best”
summer landscapes

41. Van Gogh starry night
The Starry Night is the only nocturne in the series of views
from his bedroom window. In early June, Vincent wrote to
Theo, "This morning I saw the countryside from my window a
long time before sunrise with nothing but the morning star,
which looked very big"[L 5] Researchers have determined that
Venus was indeed visible at dawn in Provence in the spring of
1889 and at that time was near its brightest possible. So the
brightest "star" in the painting, just to the viewer's right of the
cypress tree, is actually Venus
Van Gogh depicted the view at different times of day and under
various weather conditions, including sunrise, moonrise,
sunshine-filled days, overcast days, windy days, and one day
with rain.

42. Stone breakers, oil on canvas, Courbet, 1849
•Both men look monumental but the artist is showing that they are breaking their back in the reality
of showing the back breaking job, showing the reality of what people do and how they live.
•Paintings are not about the detail of the work, not important who it is but instead the concept of
what they are doing.
•Period known as
•Created a large scandal in the world – everyone looking at these hard workers painting –
•Gustave Courbet – neo-baroque painter who created realism paintings – paintings of things that
really went on in the society – showing all the social issues and all human life – he reacted to the
reality of the reality of the time

43. NEW BROQUE PAINTING
Third Class Carriage. Watercolor on paper
Daumier 1862
Reaction to social conditions caused by
industrial revolution
A new World to be discovered in the rush to
urban life
Machines revolutionizing manufacturing,
growth of industry mass transportation,
commuting The Dehumanization of people
socialism vs. monarchy . ( France)
The concept is important, no focus
on people details
•Treating art with the everyday subject
•Painting is showing the reality that
everyone is there to earn a salary in the
world – mother with baby and boy
sleeping

44. Crystal Palace, John Paxton
The World Exhibition in London 1851
Before the buildings were made from
masonry, change of materials like steel,
change of forms, big iconic columns, arches
supported by steel columns, glass enclosure,
realism, adjacent to the Neo- classical

45. Industrial Revelation
Brooklyn Bridge
Neo Gothic Arch
Supported Structure
2 major pilasters and cables are holding the bridge together
Address: Brooklyn Bridge, New York, NY
Total length: 5,989′
Height: 277′
Opened: May 24, 1883
Construction started: January 3, 1870
Location: Brooklyn, Manhattan, New York City
Architects: John A. Roebling, Washington Roebling
Large traffic in water so we needed a large bridge • Steel cables
holding up highest point of bridge allowing boats to pass
underneath • Made in masonry neo-gothic style with pointed
arches – part where steel cables suspend from

46. The Sussex Armchair
Philip Webb 1865
Based on rural prototype, most popular
piece made by morris firm ebonized
beech with rush seat
Romantic Piece
Curved Armchair
Ebony& Ivory

47. Sideboard b, by philipp Webb for Morris &
Co. 1865
English arts and craft with a little romantic
• Walnut sideboard
• Simple adornment of brass hardware – used a lot
in this time
• Softly adding light touch of curves and movement.
with walnut with the simplest adornment of brass
hardware

48. Bibliothèque Ste, Genevieve by Henri
Labrouste, Paris 1850
Location Paris, France map
Date 1843 designed, built 1845 to 1851 timeline
Building Type library
Construction System bearing masonry and iron
spans
Climate temperate
Context urban
Style Italian Renaissance Revival
Notes Monumental long vaulted reading room. Iron
arches and columns support roof independently of masonry
walls.
• Arches on windows are elements from the past – revival of
renaissance
• New system of open floor plan with old system of arched
windows – runs out of room for books
• Had to close bottom half of windows for book shelves
• Contrasting your designs

49. Morris Chair by Stickley 1902
• Lightened up base and created a better proportioned chair
• Use of leather and cushions – allowing chairs to be more
comfortable
• Characteristic – back : Choose angle of recline
• It has flat arms, the texture of the joints trespassing can be seen
• The concept is the reality of the wood and the construction
• It has an early type reclaiming chair

50. English arts and crafts
Bookcase of quarter sawn Oak by Gustav
Stickley – realism 1890-1900
• The look of them is rusty and with
rough surfaces-pre industrial
• Its is non ornamented if so its simple
and carefully applied
• The mood is conscious and simplicity
• The scale is modest and represents a
simple form and finishes in oak
• Industrialized the arts and crafts
• Big demands and low supply so price went up – now producing it with manufacturer
• Now straighter lines to the furniture – lines of the American arts and crafts becomes
sturdy, a little more massive, and straighter
• No ornament – mood is simple and conscious
• Finish in oak
• Stickily publish journal called craftsman journal – concepts crafting mass production –
stripping away ornaments
mission style ,massive,
heaviness, Straighter look

51. High back chair ladder back chair
by Philip Clissett
late 1880s
Influenced Gimson
Made from elm board or woven rush
Parts from fresh, unseasoned ash

52. Bedales school library – designed by Ernest
Gibson – 1906
• Aspects of movement with use of
wood
• Rustic and essential aspect of arts
and craft – rustic and crafty
• Combined softness with the gothic
like vault with ribs that are
expressing period in history
• On each bay have side elements
that are reinforcing the vault on top
• Gothic volted ribs in soften style
• Essantial way,crafty.

53. Gamble House 1900 – 1910
• Architect Charles Summer Greene and Henry Greene
• Influenced by English art and crafts
• Considered one of the most sophisticated designs of the
time but still goes back to the most rustic Stickley design
• Has connection to Japanese Design
• Plaster Walls and low ceilings with board, exposed wood
beams to create the cottage like atmosphere
• Modest size windows, squarish in form are punched into
the wall without architectural ornament or framing, often
with leaded glass panels, plain wood floors in planks
rather than parquet
• Considered one of the most sophisticated designs
• Plaster walls and low ceilings

54. Art Nouval
Horta’s house in Hotel Solvay Brussels 1898
The Hôtel Solvay is a large Art Nouveau town house designed
by Victor Horta on the Avenue Louise in Brussels. The house
was commissioned by Armand Solvay, the son of the wealthy
Belgian chemist and industrialist Ernest Solvay.
The four major town houses- hotel Tassel
,Hotel Solvay, Hotel van Eetvelde –located in
Brussels. One of the earliest initiators of art
nouveau, are the stylistic revolution
represented by their open plan, the
diffusion of light, and the brilliant joining of
the curved lines of decoration with the
structure of the building
Fun, loss , organic,
Curvilinear
approach a new
way which miss
the classical
conventions, we
breath in the early
1800’s

55. Castel Béranger
The Castel Béranger is a residential building with twenty-six apartments located at 14 rue de la Fontaine in the 16th arrondissement of Paris. It was designed by the
architect Hector Guimard, and built between 1895 and 1898.
Opened: 1898
Construction started: 1894
Architectural style: Art Nouveau
Architect: Hector Guimard
• It is a a residential building with twenty six apartments located at 14 rue de la fontaine in the 16th arrondissemnt of paris
• The shapes and , the shadow speaks to you, sematric design

56. Casa Batló
Everything speaks the same languge, getting away from classical
motif's
Sense of being alive, fascinated, dream world.
Huge reaction to the Victorian period.
It was built in 1877 by Antonio Gudi, it was a classical building
remarkable characteristics within the eclecticism traditional by
the end if the 19th century, the building had a basement, a
ground floor, four other floors and garden in the back
Architectural styles: Modern architecture, Modernisme,
Expressionist architecture

58. Casa Mila
Casa Mila, known as La Perdrera, is a
modernist , building in Barcelona, Catalonia,
Spain, It was the last civil work designed by
archetichet Anton Gaudi, was built from
1906 to 1912
Architectural style: Modernisme
Province: Province of Barcelona

59. Casa Dels

60. Porte Dauphine
Porte Dauphine is a station of the Paris Métro. It is the western terminus of Line 2.
Nearby, one can transfer to the RER C at Avenue Foch station. Paris Dauphine
University is nearby
Address: France

61. Thonet Furniture
Thonet's essential breakthrough was his success in having light, strong wood bent into
curved, graceful shapes by forming the wood in hot steam. This enabled him to design
entirely novel, elegant, lightweight, durable and comfortable furniture, which appealed
strongly to fashion - a complete departure from the heavy, carved designs of the past -
and whose aesthetic and functional appeal remains to this day.

62. Louis Comfort Tiffany
Louis Comfort Tiffany was an American artist and designer who worked in the decorative arts and is best known
for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic
movements. Wikipedia
Born: February 18, 1848, New York City, NY
Died: January 17, 1933, New York City, NY
Buried: Green-Wood Cemetery, New York City, NY
Artwork: Angel of the Resurrection, Education, More
Structures: Laurelton Hall, St. Paul's Episcopal Church

63. Loos Haus, Vienna
Elegant, 1911-era Modernist-style
former bank building with wooden
interior & design exhibitions.
Address: Michaelerplatz 3, 1010
Wien, Austria
Architecture
Despite its aesthetic functionalism, the building is not a simple functional buildings - especially in the materials. There
is a sharp contrast between the marble-lined facade used at the ground floor (Cipollino of Evia and Skyros marble) and
the plain plaster facade of the residential floors above.
The Tuscan columns on the street level - intended as an allusion to the portico of St. Michael's Church. Instead of
ornaments, there are flower boxes in front of the windows of the upper floors - according to a legend, the shape of
these boxes are memories of the archduke's hat and allusion to the Imperial Palace.

64. Wainwright Building
The Wainwright Building is a 10-story red brick office building at 709 Chestnut Street
in downtown St. Louis, Missouri. The Wainwright Building is among the first
skyscrapers in the world.
Architectural style: Chicago school
The ornamentation for the building includes a wide frieze below the deep cornice,which
expresses the formalized yet naturalistic celery-leaf foliage typical of Sullivan and
published in his System of Architectural Ornament, decorated spandrels between the
windows on the different floors and an elaborate door surround at the main entrance.
"Apart from the slender brick piers, the only solids of the wall surface are the spandrel
panels between the windows..... They have rich decorative patterns in low relief, varying
in design and scale with each story." [16] The frieze is pierced by unobtrusive bull's-eye
windows that light the top-story floor, originally containing water tanks and elevator
machinery. The building includes embellishments of terra cotta,[17] a building material
that was gaining popularity at the time of construction

65. Wiener Werkstätte/Josef Hoffmann

66. Charles Rennie Mackintosh
Charles Rennie Mackintosh was a Scottish architect,
designer, water colourist and artist. His artistic
approach had much in common with European
Symbolism.
a contrast between strong right angles and floral-inspired
decorative motifs with subtle curves, e.g. the Mackintosh
Rose motif, along with some references to traditional
Scottish architecture.
Glasgow School chair

67. Frank Lloyd Wright Home and Studio

68. Winslow House
FRANK LLOYED WRIGHT, 1894
LARGE OVERHANGS & HIPP ROOF (4 SIDES, GEOMETRICAL) : LOWERS THE HOME TOWARDS THE
SITE.
LARGE OVERHANGS, MAKES PROTECTION FOR SPACE OUTSIDE OF HOUSE IF IT RAINS. CAN STILL
HANG OUTSIDE WITH PROTECTION FROM GETTING WET.
LINES FROM GROUND TO WALL, WALL TO ROOF, MAKING ELEMENT HAVE OWN CLEAR
ELEMENT, NOT FLUSHED, WANTS ALL ELEMENTS TO BE DEFINED.
SIMPLE, ELEGANT
STRETCHING OUT CAR PORT ON SIDE, ALLOWING TRANSITION FROM OUTSIDE TO INSIDE.
ENTERENCE OF WINSLOW HOUSE (INTERIOR):
LARGE MASONARY “HEART”: FIREPLACE.

69. Moore House
• The geometry taking over
• Out of scale gable roof
• Elements of Victorian house
• Every element is clearly
defined, nothing is flush
• Defined large masonry body, its
like heart
• Roof over powering the ground
floor
• Contemporary

70. • The beginning of the future
• Coming out of the ground solid and
then counter act, voids around it
• Reinforced concrete, large over
hangs
• Glass design
Willits House

71. Frank Lloyd Wright lamp design
APPLYING THEORIES TO DESIGN AS IF IT IS A BUILDING
HIPP ROOF
STRUCTURE
NOTHING IS FLUSH, EVERYTHING IS EXPRESSING OWN IDENTITY
GLASS: EXPRESSING OWN SHAPES.

72. ROBI HOUSE
FRANK LLOYD WRIGHT, 1910 (COMPLETED)
CHICAGO
PRAIRIE STYLE
ORGANIC ARCHITECTURE
CANTILEVERED ROOF EAVES
CONTINUOUSE BANDS OF ART-GLASS WINDOWS
USE OF ROMAN BRICK TO EMPHASIZE THE HORIZONTAL OF THE
EXTERIOR

73. TALIESIN, WISCONSIN
HOME OF FRANK LLYOD WRIGHT, & DESIGNED
COMPLETED 1911
PRAIRIE STYLE
EMULATING THE FLATNESS OF THE PLAINS AND THE NATURAL
LIMESTONE OUTCROPPINGS
YELLOW LIMESTONE

74. TALIESIN WEST, ARIZONA
FRANK LLYOD WRIGHT
1937-41 (HE WAS 70 YRS WHEN HE STARTED)
LATE 1940s, MADE GREAT CHANGES TO MAKE MORE LIVABLE
WINTER HOME AND SCHOOL
“ARIZONA NEEDS ITS OWN ARCHITECTURE”
LONG, LOW, SWEEPING LINES, UPTILTING PLANES. SURFACE
PATTERNED AFTER SUCH ABSTRACTION IN LINE AND COLOR AS
FIND ‘REALISM’ IN THE PATTERNS OF THE RATTLESNAKE, THE
GILA MONSTER, THE CHAMELEON, AND THE SAGUARO,
CHOLLA OR STAGHORN
WALLS ARE MADE OF LOCAL DESERT ROCKS, STACKED WITHIN
WOOD FORMS FILLED WITH CONCRETE

75. MID 1930S, PA
MODERNISM
GEOMETRYS GROWING OUT OF SITE
PRAIRIE STYLE
CENTER MASONARY BODIES – STONE
ALLOWS BUILDING TO COME OUT OF SITE (LANDSCAPE)
CENTRAL FIREPLACE ELEMENT –VERTICLE ELEMENT
REINFORCED CONCRETE- HORIZONTAL ELEMENT
GLASS- VOIDS (WINDOWS)
KOFFMAN HOUSE
“FALLING WATER”
FRANK LLOYD WRIGHT

76. Walter Gropious
Modernism
1925
Looks like a factory, warehouse
New construction technique
Complete avoidance of the classical order
“form follows function” if trying to be expressed on exterior- trying to be expressed on interior as well.
Steel skeleton
Closing walls, suspended walls
Slab- covering front entrance
Not sitting on ground,gives more expression
on volume of geometry
Staying true to structure (modernism)
Truthfulness o structure, celebrates structure.

77. FAGUS FACTORY

78. LE CORBUSIER
1928, FINISHED 1931
MODERISM
STRUCTURE EXPOSED
ENTRY- GLASS ENCLOSED, SMALL VOLUME FLOATING
ROOF-TOP
SKELETON BEING CELEBRATED THROUGHOUT
INTERIOR:
REINFORCED CONCRETE BEAMS BEING EXPRESSED
TRUTHFULLNESS OF STAIRWWELL WITH CURVE EXPOSURE
Villa savoye
1931 modernist villa, designed by architect Le Corbusier

79. clean LINES
Exposed structure
Use of chrome and leather upholstery
The show of the contouring of the human body and use of
different material the shows exactly what it looks like

80. Casa del Fascio
Opened: 1936
Province: Province of Como
Architectural styles: Rationalism, International Style
Architect: Giuseppe Terragni
Interesting geometrical scheme
Allows the design to express the truthfulness

81. Ludwig Mies van der Rohe
Brick country house
Use of fee pains
BRICK COUNTRY HOUSE
The use of free planes, creating spaces and allowing to have
intricate geometry of cluster situation that interacts with each
other.
combo lenar planes with use of glass
elements are seen clear and sharp throughout, if solid.
windows create voids
play of geometry- allows for compositions
free standing planes- creates spaces
essential, simple
choice of brick- allows for planes to becomes more solid.

82. mies van der rohe
Mr chair
1927, GERMANY
MODERNISM
TUBULAR STEEL, SIMPLE
ELEMENT OF ARMREST CONNECTING TO LEGS
ARMREST THAT IS GRABBING BACK GIVES
BALANCES, ALLOWING TO BE STRUCTURALLY
BALANCED.
FORCES & REACTIONS

83. Themes and motives, Patterns
Art Deco
Chrysler elevator door

84. Teared ceiling creating
dramatic background,
mofies, patterns,
Egyptian coloums
Carlton Cinema,london

85. Theme of laping
Pathé Tuschinski is a movie theater in the Netherlands in
Amsterdam commissioned by Abraham Icek Tuschinski in 1921
at a cost of 4 million guilders. Wikipedia
Address: Reguliersbreestraat 26-34, 1017 CN Amsterdam,
Netherlands
Opened: 1921
Province: North Holland
Function: Movie theater
Architectural styles: Art Deco, Amsterdam School, Art Nouveau
Tuschinski

86. The Pellissier Building and adjoining Wiltern
Theatre is a 12-story, 155-foot Art Deco
landmark at the corner of Wilshire Boulevard
and Western Avenue in Los Angeles, California.
The entire complex is commonly referred to as
the Wiltern Center
Pellissier Building and Wiltern Theatre
Address: 3790 Wilshire Blvd, Los Angeles, CA 90010
Capacity: 1,850
Architectural style: Art Deco

87. TUGENDHUT VILA
MIES VAN DE ROHE
1928
CZECH REPUBLIC
FREE STANDING 3 STORY VILLA
“LESS IS MORE”
REVOLUTIONARY IRON FRAMEWORK
CREATING SPACE AND LIGHT

88. 1939, MIES VAN DE ROHE
EXTRUDED CUBES
PARRELLELIPIPPID
CONTRAST, SOLID, VOID
VOLUMES OF GEOMETICAL ELEMENTS
ILLIONOIS INSITUTE OF TECHNOLOGY UNIVERSITY

89. MIES VAN DE ROHE
CELEBRATION ON MODERNISM
THROUGH PROPOSAL OF STRUCTURE
AND ELEMENTS OF STRUCTURE
BECOMING PRIMARY ELEMENTS OF
DESIGN
ALLOWING STAIRS TO READ IN IT
OWN IDENTITY
RAILING, VERY
TRANSPARENT
HUGE BEAMS “GRANDFATHER”
ACROSS BEAMS “FATHER”
BREAKING DOWN GRID ALLOWING
GLASS TO BE POSITIONED WITHIN
“SON”
SCHOOL OF ARCHITECTURE OF ILLINIOS INSTITUTE OF TECH

90. FARNSWORTH HOUSE
GLASS HOUSE
MIES VAN DE ROHE
ILLINIOS 1950
WEEKEND RETREAT FOR DOCTOR EDITH FARNSWORTH
INTERIOR: MR CHAIR, BARCELONA CHAIR. SIMPLE, SLICK
EXPRESSION TO MINIMAL TERMS
TRANSPARENCY
FRONT PORCH FLOATING WITH STAIRS AS OWN ELEMENT
BATHROOM AND CLOSETS AND KITCHEN IN CENTER TO KEEP
CIRCULATION AROUND AND TO KEEP TRANSPARENT
CURTAINS TO CLOSE OF TRANSPARENCY
CENTER: NOT ALL CONNECTS TO CEILING, STILL CREATING LOOK
OF TRANSPARENCY
REVOLUTION TO MODERN ARCHITECTURE

91. VILLA MAIREA
1938-40
ALVAR AALTO
MID CENTURY MODERNISM
SCANDONAVIAN MODERISM
GEOGRAPHY INFLUENCED DESIGNER
USED WOOD-BAMBOO
USED GREENS-PLANTS
DESPERATE NEED OF BRINGING NATURE INTO INTERIOR
(SCANDONAVIA GETS VERY LITTLE DAYLIGHT) WANTING TO
CREATE AN OUTDOOR FEEL.

92. Meis van daroh 1929
Barcelona pavilion
Clear gesture of showing the columns as the skeleton that
creates the building and made sure not to hide them with the
planes he created as space making elements. The use of
natural stones as those planes and walls

93. The use of Barcelona chair that also shows the details of his
design.
The use of two simple planes that creates the structure while
decorating it with ornamnets.

94. Considered as a national style that has no references to any
other historical period
Open plan house design
The use of chrome steel to celebrate the structure that is made
to be the skeleton of the building
The use of Barcelona chair and his famous chaise lounge
Tugendaht house
Meis van darouh

95. The sleek, simple design of furniture and interior
Minimalizing the interior and furniture to only what is very
important and needed
The clear statement of showing the structures that creates the
skeleton of the building

97. Twa terminal in jfk

98. Staying true to the concept which was exactly what modernism
was about
The use of reinforced concrete to create that sweep and
supporting columns
Dulls terminal in dc
1958

99. Tulip chair
Eero Saarinen 1956
Plastic, fiberglass, aluminum.
The use of these materials influenced them to create shapes
and designs

101. Usually upholstery with foam with fiberglass shell with
aluminum base
It has a feeling of coziness and hugging
It has an organic design that helps presenting the idea
It also was made in leather
the egg chair arne Jacobsen
1957

102. Slikness and simplicity that allowing to express
Thin edge cabinet by George nelson
It was designed for Herman miller
1955
The use of plastic knops
The use of the steel legs to left up the cabinet to show the
extruded cubes
Nelson

103. Because of the influence of Scandinavian style that broke up
the rigidity of how modernism started into the use of colors
and more designed.
Charles and eens Eames cabinet

104. His design was based on the use of voides and blocks
1952
ponti cabinet

105. The use of the light going in within the
building.
The use of geometrical forms to create the
solid and voids of the building
Guggenheim museum frank lloyd wright
1956-1959

106. The play of voids and solids to give the illusion of how the roof
floating over the top of the building.
The use of architecture elements and the light to create a
modern approach that differ completely from the ordinary
chapels that were done before.
The Chapelle of Notre-Dame-du-Haut

107. His idea of the ideal city, the united living
between people where everything would
be within reach and the unity but the
unique pattern of each and every cube.
23 different apartment configuration in
the building which accommodate
everyone’s needs and taste.
le corbusier unite d'habitation
1952

108. The broken pediment and the use of the arch where it suppose
to be an opening but he is using just as a decorative element.
The use of the lines that were used in the past as the base of
the building, he used them in the middle as a decorative
element.

109. Charles moore piazza d'italia

110. The use of the Egyptian posts and using them as a decorative
dropped wall
Portland public services building Michael graves

111. The use of furniture that has the
look of the past with adding a
decorative element like the use of
paint to change it

112. The use of broken pediment
The huge masonry arch indicating the entry. The use
Philip johnson at&t building

113. The use of the solid and the void to create the building
house 6 by peter eisenman
Connecticut

114. The use of the geometrical space to create the natural look of
decomposing the ground and creating that building
city of culture peter eisenman

115. He is a very known architect that was famous
of different shapes and the unusual
decomposing geometry
He used subtle shapes to create each room so
it would have its own entity
wintegon white house in minnesota by frank gehry

116. The use of deconstructed feature that gives each one it’s own
entity
der neue zollhof by frank gehry

117. The use of cad at that point helped him and his office to create
shapes and buildings that were hard to achieve before
The same concept of staying true to the design was still there
but in a decorative and decomposing way
new gogenhine by frank gehry in belbao

118. Tajo Remy chest of drawers

119. The use carbon fibers coded with special glue that makes it
extremely stiff
Most of those contemporary designed furniture are designed
as a sculpture pieces because they lacked comfort
marcel wanders knotted chair

120. Showing the skeleton of the chair
The simplicity came back into the design
Kalamata chair
The arm chair

121. The location of the building playes a high factor on the choice
of design
There is indoor and oudoor areas
The exposing of every item in the house like the joists
The use of materials and colors that add joy into the space
The change of how the modernism started with those grayish
colors that seemed as a hospital like designs into adding colors
and textile that give that warm and spiritual feel into the space
Steven Eirlech 700 palms residence
In California