Paul Ludwig Troost, House of German Art, Munich, 1934-6

Albert Speer, Zeppelinfeld, Nuremberg, 1934

Albert Speer (sol), Alman Pavyonu, Boris Iofan, Rus Pavyonu, Paris Dünya Sergisi,1937

Albert Speer (sol), Alman Pavyonu, Boris Iofan (sağ), Rus Pavyonu

Paris Dünya Sergisi,1937

Giovanni Guerrini, Ernesto La Padula, Mario Romano, Palazzo della Civilta Italiana, EUR

Roma, 1937-42

Guiseppe Terragni, Casa del Fascio, Como, 1932-6

Guiseppe Terragni, Casa del Fascio, Como, 1932-6

Alvar Aalto, Viipuri Public Library, Viipuri, 1927-35

Berthold Lubetkin, Penguin House, London Zoo, 1934

Lucia Costa, Oscar Niemeyer ve diğ. (Le Corbuiser ile birlikte), Ministry of Education, Rio de

Janeiro, 1936-45

Josep Lluis Sert, Luis Lacasa, Spanish Pavillon, Paris International Exhibition, 1937

Erik Gunnar Asplund, Woodland Cemetery and Crematorium, Stockholm, 1935-40

Robert Maillart, Salginatobel Bridge, Schiers, Switzerland, 1930

Pier Luigi Nervi, Aircraft Hangars, Orvieto, 1936

Walter Gropius, Kendi evi, Massachusetts, 1938 (sol), Gropius and TAC, Harkness Commons

Dorms, Graduate center, Harvard University, Massachusetts, 1948 (sağ)

Alvar Aalto, Baker House Yurtları, MIT, 1947-49

Eero Saarinen, Jefferson National Expansion Memorial, St.Louis, 1947-66

Eero Saarinen, General Motors Technical center, Michigan, 1948-56

Eero Saarinen, General Motors Technical center, Michigan, 1948-56

DESIGN DOME

The dome’s floor can be set up as an auditorium for an

audience of more than 1,000 or used as an exhibition

hall. Multiple lighting settings allow designers to study

cars under all sorts of conditions and appraise their

appearance in a variety of lights. The outer dome is 65

feet high with a span of 188 feet and is made of an

aluminum shell three-eighths of an inch thick—thinner

in relation to the dome size than an eggshell is to an

egg.

FIXTURES

Nicknamed the ―teacup,‖ the white fiberglass

receptionist’s desk in the lobby of the Design Center

administration building is one of Saarinen’s more playful

gestures. It is currently being restored as part of the

company’s ongoing effort to maintain even the smallest

original details of Saarinen’s design.

http://www.metropolismag.com/story/20030

601/motor-city

Richard Neutra, Kaufmann Desert House, California, 1946

Mies Van der Rohe, Illinois Institute of Technology, Michigan, 1948-56

Minerals And Metals Research Building At IIT

Mies Van der Rohe, Crown Hall, Illinois Institute of Technology, Michigan, 1953

Mies Van der Rohe, Crown Hall, Illinois Institute of Technology, Michigan, 1953

Mies Van der Rohe, Farnsworth House, Illinois, 1945-51

"Nature should also have a life of its own. We should

avoid disturbing it with the excessive color of our

houses and our interior furnishings. Indeed, we should

strive to bring Nature, houses, and people together into

a higher unity. When one looks through the glass walls

of the Farnsworth House it takes on a deeper

significance than when one stands outside. More of

Nature is thus expressed – it becomes part of a greater

whole."

-Mies van der Rohe

Mies Van der Rohe, Farnsworth House, vs. Philip Johnson, Glass House, New Canaan, 1949-50

Mies Van der Rohe, lake Shore Drive Apartments, Chicago, 1948-51

Mies Van der Rohe, Seagram Building, New York, 1954-58

Mies Van der Rohe, Seagram Building, New York, 1954-58

Skidmore, Owings, Merrill (SOM), Lever House, New York, 1951-52

Harrison and Abramowitz, UN Headquarters, New York, 1947-50

Le Corbusier, project 23 A, 1947 (sol)

Harrison and Abramowitz, UN Headquarters, New York, 1947-50 (sağ)

Frank Lloyd Wright, Price Tower, Oklahoma, 1952-6

Frank Lloyd Wright, Guggenheim Museum, New York, 1943-59

Frank Lloyd Wright, Guggenheim Museum, New York, 1943-59

Frank Lloyd Wright, Guggenheim Museum, New York, 1943-59

Le Corbusier, Ronchamp Chapel (Notre-Dame-du-Haut), 1950-54

Le Corbusier, Ronchamp Chapel (Notre-Dame-du-Haut), 1950-54

Le Corbusier, Ronchamp Chapel (Notre-Dame-du-Haut), 1950-54

Le Corbusier, Chandigarh 1951-65

Le Corbusier, Parlamento Binası, Chandigarh 1951-65

Le Corbusier, Yüksek Mahkeme, Chandigarh 1951-65

Le Corbusier, Sekreterya-Ofisler, Chandigarh 1951-65

Le Corbusier, Chandigarh 1951-65

Le Corbusier, Unité d’habitation, Marseilles, 1947-53

Le Corbusier, Unité d’habitation, Marseilles, 1947-53

Le Corbusier, Unité d’habitation, Marseilles, 1947-53

Le Corbusier, Unité d’habitation, Marseilles, 1947-53

Le Corbusier, Unité d’Habitation, Marseilles, 1947-53

Team 10

Team 10 at the office boat of Erskine, Drottningholm,

Sweden, 1962. They are discussing the dummy of the

Team 10 Primer as compiled, copied and distributed by

Alison Smithson. From left to right: Woods, Erskine,

Bakema, Alison Smithson and Voelcker.

Shadrach Woods, Vladimir Bodiansky, Georges Candilis

ATBAT Collective Housing, Casablanca, Fas, 1951-6

Alison and Peter Smithson, Golden Lane cadde şeması, Londra 1952, farklı seviyelerde caddeler

Team 10 architects Alison and Peter Smithson, whose

competition images for an earlier housing estate (at

Golden Lane, in London) generated buzz and

controversy for their juxtaposition of everyday "pop"

figures against a Modern backdrop (that's Marilyn

Monroe and Joe DiMaggio on the left, scurrying out of

view).

Alison and Peter Smithson, Golden Lane cadde şeması, Londra 1952, farklı seviyelerde caddeler

Team 10 architects Alison and Peter

Smithson, whose competition images for an

earlier housing estate (at Golden Lane, in

London) generated buzz and controversy

for their juxtaposition of everyday "pop"

figures against a Modern backdrop (that's

Marilyn Monroe and Joe DiMaggio on the

left, scurrying out of view).

Alison and Peter Smithson, Robin Hood Gardens, Londra, 1960 sonları-1972

Alison and Peter Smithson, The Economist Yönetim Binası, Londra, 1959-64

Smithsons, 1954, Hollanda

To illustrate the Smithsons disapproval for modern

urban design a quote from Peter Smithson after he

visited in 1954 the new suburbs of Amsterdam, the

Netherlands.

'It is nothing more or less than a great filing system for

men, based on the assumption that shelter and food

alone have to be provided. […] People have descriped

to me how Van Eesteren thinks of the city as a living

Schwitters, a great developing mutating organism.

Unfortunaly the bus tickets in this case happen to be

three storey flat blocks; a pattern which seems

incapable of providing any sort of framework for live.