ARCHITECTURE HISTORY

TIMELINE

second half of 19th century: industrial revolutions

art and crafts movement started

eiffel tower crystal palace and galeries des machines built

1900-1930: avantgarde art

1919 - 1950 : modernism

- rationalism

- organicism

wars

1960 : land art + conceptual art

- early high tech creations (space, neil armstrong)

1970s: transition from modernism to postmodernism

- high tech (1970): pompidou center

- japan: comtemporary organicism - tadao ando

1980 - 2000s : diversity era

- postmodernism ends at the end

- comtemporary organicism due to climate awareness

- high tech: peak

2000s - present: high tech , comtemporary organicism, sustainability

RATIONALISM

Mass production: dominant materials → iron, steel, glass, r. concrete

• urbanization led to fast n efficient construction

Ignored nature → mechanized, geometric design

CHARACTERISTICS: focused on efficiency + standardization > harmony w nature

• straight lines

• geometric forms

• grid layout

Chicago School (early 1900s) → 1st steel frame skyscrapers emerged, setting the stage.

• They invented steel-frame construction → buildings became taller and more open

• They eliminated decoration → facades were clean, focused on structure

• They prioritized function → offices, elevators, and open plans became key

• They used glass and steel visibly → materials weren't hidden

“The Chicago School built the first modern buildings. Rationalism turned those ideas into a global movement.”

ARTS AND CRAFTS MOVEMENT

First counter-movement against rationalism/industrialization

WILLIAM MORRIS & JOHN PUSKINS

• advocated for handcrafted architecture + natural materials

• against mass production → believed human made environments should connect to nature and craftsmanship.

WILLIAM MORRIS: believed industrial production degraded both the maker and the product.

JOHN RUSKIN: believed industrial production was soulless and dehumanizing.

ORGANICISM

emerged as a response to Rationalism

CHARACTERISTICS:

• fluid and curved forms

• integration n adaptation into the landscape

• use of natural n sustainable materials

• use of natural light n cross-ventilation

• efficient use of resources

• minimisation of environmental impact

vs RATIONALISM:

• industrial materials

• geometric forms

• straight lines

• elimination of ornamentation

FRANK LLOYD WRIGHT (1867-1959)

PIONEER OF U.S. ORGANICISM

Master of Modern Movement – “Father of Organicism”

• Born in Winsconsin.

• 1887 : Moved to Chicago - where he worked for Louis Sullivan, a major figure in the Chicago School and a proponent of "Form Follows Function."

• Total Art Concept → Architecture, interior design, and furniture should be a unified vision.

• Rejected industrialism, emphasizing human connection to nature.

  • ARTS AND CRAFTS MOVEMENT + PRAIRIE SCHOOL = foundation of ORGANCISM

    • ANCM: “honesty of materials” → don’t hide natural materials under paint or ornamentation = total art textbook ideals (the values)

    • PS: direct influence on Wright’s belief that buildings should grow from their site. (the form)

MOVEMENT, MATERIAL, FUNCTION

Kaufmann house/Fallingwater (Pennsylvania, 1936-1937) flw

ARCHITECTURAL MOVEMENT: Modernism, Organicism

MATERIALS: Brick, wood, stone, reinforced concrete, painted iron, glass, aluminium, steel structure

FUNCTION: Residential house (for the Kaufmann family)

interior

Kaufmann house/Fallingwater (Pennsylvania, 1936-1937) flw

INTERIOR

• Open layout connects rooms

• Fireplace is central, made from stone

• Furniture is built-in

• Rock from the site appears inside the floor

• You feel like you're inside and outside at once

form n structural features

Kaufmann house/Fallingwater (Pennsylvania, 1936-1937) flw

FORM N STRUCTURAL FEATURES

• Terraces extend over the waterfall

• Steel-reinforced concrete allows for cantilevers

• Stone axis runs vertically through the house

• Foundation built into natural rock

integration w nature n light

Kaufmann house/Fallingwater (Pennsylvania, 1936-1937) flw

INTEGRATION WITH NATURE

• Water sounds fill the interior

• Terraces mimic stone ledges found on the site

• Exterior and interior share materials

• Adapt building to respect nature

• glass = connection interior and exterior

LIGHT

• natural lighting through expansive glass.

• Glass open views to the forest

MOVEMENT, MATERIAL, FUNCTION

Johnson Wax (Wisconsin, 1936-1939) flw

ARCHITECTURAL MOVEMENT: Modernism, Organicism

MATERIALS: Red brick, Red Kasota sandstone, Reinforced concrete, Pyrex glass tubing

FUNCTION: Corporate office and research lab for the SC Johnson company → designed to increase productivity

FORM N STRUCTURAL FEATURES

Johnson Wax (Wisconsin, 1936-1939) flw

FORM N STRUCTURAL FEATURES

• Thin columns shaped like lily pads → free up space

• group of buildings

• Roof slabs connect internally

• Rounded corners throughout

• No separate rooms in main workspace

INTEGRATION WITH NATURE n LIGHT

Johnson Wax (Wisconsin, 1936-1939) flw

INTEGRATION WITH NATURE

• Curved forms and angles

• No ornamentation, only material and form

• Walls used to enclose area - high ceilings

LIGHT

• Ceilings use glass tubing to spread light

• Light filters through column tops

• No direct sunlight, only diffused glow

• Workers avoid glare without artificial light

INTERIOR

Johnson Wax (Wisconsin, 1936-1939) flw

INTERIOR

• Central courtyard brings natural light to all areas

• Horizontal plan with one tall tower for balance

• Curved interior walls do not touch outer facade

• Columns and high ceilings create spacious, light-filled rooms

• Custom furniture follows the building’s natural forms

• Column pattern supports a consistent, open atmosphere

MOVEMENT, MATERIAL, FUNCTION

Orthodox Church of the Annunciation (Athens, 1956) flw

ARCHITECTURAL MOVEMENT: Modernism, Organicism

MATERIALS : Stone, Reinforced concrete (painted white), Stained glass, Anodized aluminium (gold finish)

FUNCTION: A functioning Orthodox Christian church

• Space for worship, prayer, reflection, and ceremony

• Dome and symmetry guide attention upwards

FORM N STRUCTURAL FEATURES

Orthodox Church of the Annunciation (Athens, 1956) flw

STRUCTURAL FEATURES

• Circular floor plan - Cross layout

• Dome appears to float

• Rounded walls : entrance, windows, walls

INTEGRATION WITH NATURE n LIGHT

Orthodox (Greek) Church of the Annunciation (Wisconsin, 1956) flw

INTEGRATION WITH NATURE

• Gold dome reflects sunlight

• Original blue dome matched the sky

• Curved forms match land contours

• Design respects its site instead of overpowering it

LIGHT

• Blue stained glass colors the light

• Dome diffuses brightness like a tree canopy

INTERIOR

Orthodox Church of the Annunciation (Athens, 1956) flw

INTERIOR

• Movement leads toward the center

• Few decorations

• Light and form are the focus

• Space feels clear and open

MOVEMENT, MATERIAL, FUNCTION

Guggenheim museum (New York, 1951-1959) flw

ARCHITECTURE MOVEMENT: Modernism, Organicism

• ART INSIDE: After wwii, americans didn’t have a strong original art movement - european artists brought modern ideas: abstract, surrealist art - americans followed their lead = a place to display new, experimental, non traditional art.

MATERIALS: Reinforced concrete, Steel, Glass, Plaster

FUNCTION: Art museum designed to display modern and abstract art - Architecture becomes part of the exhibition

FORM N STRUCTURAL FEATURES

Guggenheim museum (New York, 1951-1959) flw

STRUCTURAL FEATURES

• Spiral ramp replaces floor levels (cantilevered)

• Central atrium under a skylight

• Structure held by shell, not columns

• Continuous path replaces stairs and rooms

INTEGRATION WITH NATURE n LIGHT

Guggenheim museum (New York, 1951-1959) flw

INTEGRATION WITH NATURE

• Spiral recalls shells and natural movement

• No boxy rooms

LIGHT

• Skylight floods space with natural light

• White walls reflect and amplify brightness

• Light under floor slabs each floor

• Exhibits change under different conditions

INTERIOR

Guggenheim museum (New York, 1951-1959) flw

INTERIOR

• Visitors follow a single path

• No dead ends

• Art is seen while moving - experience in motion, not isolation

• architecture = part of exhibition

ALVAR AALTO (1898-1976)

PIONEER OF HUMAN CENTERED MODERNISM (EU)

• Studied architecture in Helsinki, graduated 1921

• Began with Nordic Classicism → moved to Functionalism → created organic modernism

• Rejected mechanical modernism

• Prioritized human comfort and warmth

• Deeply inspired by Finnish nature (forests, lakes, light)

• Believed buildings should grow from their environment

• Promoted “Total Design” → architecture, furniture, lighting as one system

• Worked with wife Aino Aalto → known for functional furniture and glassware

• Focused on the user’s experience

PURPOSE

• Design spaces for physical and mental wellbeing

• Create buildings that age and adapt with users

• Integrate light, materials, and nature into the full experience

DESIGN PHILOSOPHY

• Use of organic curves from nature

• Natural light and ventilation are essential

MOVEMENT, MATERIAL, FUNCTION

VILLA MAIREA (Noormarkku, Finland, 1937–1939) aa

MOVEMENT: Modernism, Organicism

PURPOSE: Private residence for Maire and Harry Gullichsen

• Used for living, hosting, and showcasing progressive design

• Also a manifesto of organic architecture in Europe

MATERIALS: Wood, Stone, Brick, Glass, Reinforced concrete

FORM N STRUCTURAL FEATURES

VILLA MAIREA (Noormarkku, Finland, 1937–1939) aa

STRUCTURE FEATURES

• L-shaped layout surrounding a garden

• Use of organic curves

• Columns imitate tree trunks

INTEGRATION WITH NATURE n LIGHT

VILLA MAIREA (Noormarkku, Finland, 1937–1939) aa

INTEGRATION WITH NATURE

• Surrounded by Finnish forest

• Nature becomes part of the house—not decoration, but structure

• Large glazed walls open directly to the trees and garden

• Garden not separated by fences or borders

• Materials intentionally left natural to weather with the surroundings

LIGHT

• Skylights and wood slats create moving shadows throughout the day

• Light and ceiling height vary by room to guide emotion and activity

• Interior atmosphere tied to changes in outdoor light

INTERIOR

VILLA MAIREA (Noormarkku, Finland, 1937–1939) aa

INTERIOR

• Space flows with minimal barriers

• No strict divisions—rooms open into each other

• Art, lighting, and furniture were designed with the building

• Meant to feel both domestic and free

MOVEMENT, MATERIAL, FUNCTION

ALVAR AALTO STUDIO/HOUSE (Helsinki, Finland, 1955) aa

MOVEMENT: Modern Movement, influenced by Japanese architecture, developed into Scandinavian Organicism

PURPOSE: Aalto designed this for himself and his wife

It served as both a home and an architectural office

• One side was private and quiet

• The other side was used for work and client meetings

MATERIALS: White plaster walls on the exterior, Wood for private spaces inside, Brick for shared areas, Steel in structure, Glass

FORM N STRUCTURAL FEATURES

ALVAR AALTO STUDIO/HOUSE (Helsinki, Finland, 1955) aa

STRUCTURE FEATURES

• Rationalist geometry on the outside

• simple massing

• Interior space shifted into organic planning

• Living room opened to a Japanese-style garden

• Studio had tall ceilings and skylights

• Rooms were arranged by how people used them—not by symmetry

INTEGRATION WITH NATURE n LIGHT

ALVAR AALTO STUDIO/HOUSE (Helsinki, Finland, 1955) aa

INTEGRATION WITH NATURE

• Large windows faced green space and the garden

• The garden was designed by Aalto himself : japanese

• Light and plant life entered the house visually and physically

• The house respected seasonal changes

• Natural views were framed but never dominated

LIGHT

• Daylight was the main light source

• Skylights in the studio reduced shadow and glare

• Glass near the floor brought in horizontal light

• Brightness changed throughout the day to match mood and work

• Ceiling height shifted across spaces

  • Lower ceilings brought calm

  • Higher ceilings added focus and alertness

INTERIOR

ALVAR AALTO STUDIO/HOUSE (Helsinki, Finland, 1955) aa

INTERIOR

• Spaces opened slowly—no sudden reveals

• Wooden materials changed how the space sounded

• Movement between house and studio was smooth

• There were no strong divisions between public and private

• Every detail—from the window height to the furniture—was intentional

MOVEMENT, MATERIAL, FUNCTION

PAIMIO SANATORIUM (Paimio, Finland, 1928–1933) aa

Movement: Modernism with a human-centered, organic approach

Purpose

• Tuberculosis hospital designed for healing

• Architecture supports rest, sunlight, airflow

• Every detail improves patient recovery

Materials

• Reinforced concrete

• Steel

• Painted surfaces

• Glass

FORM N STRUCTURAL FEATURES

PAIMIO SANATORIUM (Paimio, Finland, 1928–1933) aa

Structure Features

• Horizontal wings from central corridor

• Curved rooflines and open terraces

• Long ribbon windows

• Clean, white, flexible layouts

INTEGRATION WITH NATURE n LIGHT

PAIMIO SANATORIUM (Paimio, Finland, 1928–1933) aa

Integration with Nature

• Set in pine forest

• Rooms and balconies face trees

  • trees r visible in every room

• Quiet, away from the city

• Nature used for peace and recovery

Light

• Gentle daylight, no harsh overheads

• Lamps angled for eye comfort

• Sunlight used as part of treatment

INTERIOR

PAIMIO SANATORIUM (Paimio, Finland, 1928–1933) aa

Interior

• Designed for calm and care

• Paimio chair improves breathing

• Wide, silent halls

• Soft colors, warm materials

• Comfort and function in every element

LE CORBUSIER (1887–1965)

PIONEER OF FUNCTIONALIST MODERNISM (EU)

• Born in La Chaux-de-Fonds, Switzerland

• Trained in visual arts before shifting to architecture

• Moved to Paris and led the European Modern Movement

• Influenced by Purism (response to cubism), classical symmetry, and industry

PHILOSOPHY

• Architecture must serve society

• Designed systems, not just buildings

• Form must follow logic and function

• “A house is a machine for living in”

• Used industrial materials: concrete, steel, glass

• Rejected decoration and local styles

PURPOSE

• Reflect industrial progress through design

• Mass housing for urban growth

• Replace chaotic cities with rational planning

MOVEMENT, MATERIAL, FUNCTION

NOTRE-DAME-DU-HAUT, RONCHAMP CHAPEL (1950–1955) lc

Architectural Movement

• Modernist → concrete, no ornament, breaks symmetry

• Organic Architecture → curved walls, shaped by landscape

• Expressionist Architecture → emotional form, dramatic light

Material Palette

• Whitewashed reinforced concrete

• Stone and rubble from original chapel

• Concrete roof shell with insulation

• Small stained glass windows

Function : Catholic pilgrimage chapel

• Built on ruins of a church destroyed in WWII

• Hosts mass, prayer, outdoor religious festivals

• Acoustics designed so the priest never raises his voice

FORM N STRUCTURAL FEATURES

NOTRE-DAME-DU-HAUT, RONCHAMP CHAPEL (1950–1955) lc

Form and Structure

• Thick, asymmetrical, curved walls

• Roof “floats” above walls (glass gap allows light)

• No traditional nave or axis

• Bell tower stands apart as a sculptural form

• wall has holes = ventilation

INTEGRATION WITH NATURE n LIGHT

NOTRE-DAME-DU-HAUT, RONCHAMP CHAPEL (1950–1955) lc

Integration with Nature

• Built into a hilltop

• Oriented to sun, wind, and slope

• Outdoor altar opens to landscape

• Form mimics cave

• Curved walls follow hill contour

Lighting

• Natural light enters through small, irregular windows

• Light spills in from behind and above walls

• Stained glass adds color to plain surfaces

• Interior glows softly without visible fixtures

INTERIOR

NOTRE-DAME-DU-HAUT, RONCHAMP CHAPEL (1950–1955) lc

INTERIOR

• Space is dim, quiet, meditative

• Movement guided by curves and changing light

• Interior feels sacred, still, and grounded

• goal = silence , peace

TADAO ANDO (1941–)

MINIMALIST MASTER OF SPIRITUAL MODERNISM (JP)

• Born in Osaka, 1941

• Self-taught architect

• Trained as a boxer

• Studied architecture through travel and books

• Influenced by Le Corbusier, Mies, and Kahn

• Opened his firm in 1969

• Gained global fame in the 1980s

CORE IDEAS

• Blends Japanese tradition with European modernism

• Inspired by Zen, silence, nature, and proportion

• Works with raw concrete, light, water, shadow

• No ornament—form and light are the focus

• Buildings are spaces to reflect, slow down, and observe

PURPOSE

• Connect humans with nature

• Use space to shape emotion

• Highlight silence, time, and stillness

• Remove distractions to focus on what matters

DESIGN PHILOSOPHY (JAPAN)

• Influenced by traditional Japanese homes

• Subtle colors, fragile materials, soft transitions

• Light is controlled and symbolic

• Uses concrete like paper—quiet, neutral, soft

• Builds into the land, not over it

CROSS-CULTURAL FUSION

• Expressed Japanese space with modern tools

• Adopted Western geometry, stripped of ego

• Echoed Kahn’s stillness, grounded in Eastern logic

• Universal in feeling, deeply Japanese in method

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Quote
“We borrow from nature the space upon which we build.”

MOVEMENT, MATERIAL, FUNCTION

AZUMA HOUSE (Osaka, Japan, 1975–1976) ta

Architectural movement

• Modernism with influence from traditional Japanese architecture

• Minimalism

• organicism

Function

• Private residence for a single family

• Built in a dense residential area with no garden space

• 57m2

Material

• Reinforced concrete

• Glass

• Wood (interior use)

FORM N STRUCTURAL FEATURES

AZUMA HOUSE (Osaka, Japan, 1975–1976) ta

Form and structure

• Two concrete blocks separated by a central open-air courtyard

• Orthogonal plan, rectangular

• No façade windows—light and air only enter from the inner void

• Geometric, asymmetrical massing

INTEGRATION WITH NATURE n LIGHT

AZUMA HOUSE (Osaka, Japan, 1975–1976) ta

Integration with nature

• Courtyard allows exposure to sky, wind, and rain

• Daily movement passes through open space

• Nature experienced physically , not visually

Lighting

• Sunlight enters from above, casting strong contrasts

• Reflections move across raw concrete walls

• No decorative fixtures—light becomes material

INTERIOR

AZUMA HOUSE (Osaka, Japan, 1975–1976) ta

• Interior feels enclosed and meditative

• Movement requires awareness of weather and time

• Isolation from city noise creates internal focus

• shaped by light, shadow, and climate

MOVEMENT, MATERIAL, FUNCTION

CHURCH OF THE LIGHT (Ibaraki, Osaka, Japan, 1987–1989) ta

Architectural movement

• Minimalism

• modernism: organicism

Function

• Christian church for a small congregation

• Space for prayer and meditation

Material

• Reinforced concrete

• Glass

• Wood

FORM N STRUCTURAL FEATURES

CHURCH OF THE LIGHT (Ibaraki, Osaka, Japan, 1987–1989) ta

Form and structure

• Rectangular box sliced by diagonal wall

• Cross-shaped void cut into the front wall

• Single nave

• no altar

INTEGRATION WITH NATURE n LIGHT

CHURCH OF THE LIGHT (Ibaraki, Osaka, Japan, 1987–1989) ta

Integration with nature

• Cross-shaped light is the only view

• Light, not landscape, connects you to the outside

• Nature is reduced to presence through light

Lighting

• Daylight enters only through the cross slit

• No electric fixtures above

• Shifting light marks time and mood

• light changes angle depending on sun angle

INTERIOR

CHURCH OF THE LIGHT (Ibaraki, Osaka, Japan, 1987–1989) ta

• Silence and shadow heighten awareness

• Light replaces decoration

• Everything points to reflection

• visitors sit facing light

MOVEMENT, MATERIAL, FUNCTION

CHURCH ON THE WATER (Tomamu, Hokkaido, Japan, 1988–1991) ta

Architectural movement

• Minimalism

• Organicism

• modernism

Function: Chapel for weddings and ceremonies

Material

• Concrete

• Glass

• Steel

• Water

FORM N STRUCTURAL FEATURES

CHURCH ON THE WATER (Tomamu, Hokkaido, Japan, 1988–1991) ta

Form and structure

• Two cube-like volumes (overlapping)

  • 1 cube opens to pool/pond

• Movable glass wall opens to reflecting pool

• Cross placed in the pond

• no traditional altar

INTEGRATION WITH NATURE n LIGHT

CHURCH ON THE WATER (Tomamu, Hokkaido, Japan, 1988–1991) ta

Integration with nature

• Nature becomes altar

• Pond mirrors trees, sky, and clouds

• No barrier between architecture and site

Lighting

• Soft, reflected light enters across water

• Interior glow changes with cloud and time

• Daylight amplifies mood and silence

• interior = dim

INTERIOR

CHURCH ON THE WATER (Tomamu, Hokkaido, Japan, 1988–1991) ta

• Path through chapel slows you down

• Water defines sound and view

• Ceremony and movement feel unified

• Architecture disappears into nature

MOVEMENT, MATERIAL, FUNCTION

TEMPLE ON THE WATER (Awaji Island, Japan, 1990–1991) ta

Architectural movement

• Minimalist modernism

• japanese traditional temple design

• organicism

Function

• Spiritual retreat

• Space for private rituals and observation

Material

• Reinforced concrete

• Stone

• Wood

• Water surfaces

FORM N STRUCTURAL FEATURES

TEMPLE ON THE WATER (Awaji Island, Japan, 1990–1991) ta

Form and structure

• Curved, layered planes

• Movement shaped by topography

• natural sources: pond + pond lillies

INTEGRATION WITH NATURE n LIGHT

TEMPLE ON THE WATER (Awaji Island, Japan, 1990–1991) ta

Integration with nature

• Water integrated into walkways

• Outdoor and indoor blend without edges

• Pond lilies and red tones reflect Japanese nature

Lighting

• Reflected and diffused light

• Subtle shifts create calm

• natural and artificial

• varies by time n weather

INTERIOR

TEMPLE ON THE WATER (Awaji Island, Japan, 1990–1991) ta

• No fixed path or interpretation

• Atmosphere shaped by season and time

• You experience space through the senses

• each visit is different = dynamic

• water sounds

MOVEMENT, MATERIAL, FUNCTION

JAPAN PAVILION, EXPO SEVILLE (Seville, Spain, 1992) ta

Architectural movement

• modernism

• traditional japanese influence

Function: Exhibition pavilion for Japan at the Expo

Material

• Wood

• Paper

• Bamboo

• Steel

• Concrete foundation

FORM N STRUCTURAL FEATURES

JAPAN PAVILION, EXPO SEVILLE (Seville, Spain, 1992) ta

Form and structure

• Wooden lattice with no nails

• Large open canopy

• Modular system inspired by Japanese joinery

• escalator = connects entrance w exhibition space

INTEGRATION WITH NATURE n LIGHT

JAPAN PAVILION, EXPO SEVILLE (Seville, Spain, 1992) ta

Integration with nature

• Natural ventilation, no machines

• Light filtered through paper and wood

• Structure adapts to climate

• open spaces/entrance = connection int.ext.

Lighting

• Filtered daylight from roof

• Light softened by wood

• No direct sun—uniform glow

INTERIOR

JAPAN PAVILION, EXPO SEVILLE (Seville, Spain, 1992) ta

• Shade and coolness in Spanish heat

• Feel traditional craft at modern scale : japan

MOVEMENT, MATERIAL, FUNCTION

HANSOL MUSEUM (Wonju, South Korea, 2005–2012) ta

Architectural movement

• organicism

• Minimalist landscape integration

Function: Private art museum

Material

• Stone

• Reinforced concrete

• Glass

• Wood

• Water

FORM N STRUCTURAL FEATURES

HANSOL MUSEUM (Wonju, South Korea, 2005–2012) ta

Form and structure

• Z-shaped plan

• Sunken courtyards and long paths - long linear corridors

• Partial burial into hillside

INTEGRATION WITH NATURE n LIGHT

HANSOL MUSEUM (Wonju, South Korea, 2005–2012) ta

Integration with nature

• Forest seen from every corridor

• Reflections in water extend the view

• Building steps back—landscape dominates

Lighting

• Daylight directs movement

• Openings frame views of sky and trees

• Minimal artificial light

• big glass panels: natural light

INTERIOR

HANSOL MUSEUM (Wonju, South Korea, 2005–2012) ta

• no forced circulation

• Nature is part of each gallery

• Mood is quiet, unforced, sensory

• Stillness shapes experience

MOVEMENT, MATERIAL, FUNCTION

ANDO’S MUSEUM (Naoshima Island, Japan, 2013) ta

Architectural movement

• Modernism

• organicism

• minimalism

• fusion of traditional and modern japanese forms

Function: Small museum of Ando’s works

Material

• Reinforced concrete

• Wood

• Plaster

• Glass

FORM N STRUCTURAL FEATURES

ANDO’S MUSEUM (Naoshima Island, Japan, 2013) ta

Form and structure

• Traditional house with concrete core

• Sharp geometry within soft wood shell

• narrow halls

• Preserves original form

INTEGRATION WITH NATURE n LIGHT

ANDO’S MUSEUM (Naoshima Island, Japan, 2013) ta

Integration with nature

• Natural light enters through slits

• Garden seen from narrow angles

• Exterior remains unchanged

Lighting

• Dim interior, narrow openings

• Concrete reflects soft light

• Contrast creates stillness

• minimal artificial lighting

INTERIOR

ANDO’S MUSEUM (Naoshima Island, Japan, 2013) ta

• Architecture is the exhibition

• Silence and shadow are guides

• Movement shaped by volume, not signs

• Feel tension between old and new

MOVEMENT, MATERIAL, FUNCTION

HE ART MUSEUM (Foshan, China, 2020) ta

Architectural movement

• modernism

• Minimalist

Function: Contemporary art museum

Material

• Reinforced concrete

• Glass

• Steel

FORM N STRUCTURAL FEATURES

HE ART MUSEUM (Foshan, China, 2020) ta

Form and structure

• Circular ramps around central void

• Skylit atrium

• Continuous flow—no stairs

• same as guggenheim new york

INTEGRATION WITH NATURE n LIGHT

HE ART MUSEUM (Foshan, China, 2020) ta

Integration with nature

• Light shapes movement

• Central space links floors to time (light morning, night dark)

Lighting

• Skylight softens light into circular glow

• No direct beams

• Movement aligns with shifting light

• shadows change as u ascend

INTERIOR

HE ART MUSEUM (Foshan, China, 2020) ta

• No rooms—only motion

• Space flows like a spiral

• You walk with the building

• Art and architecture blur together

PETER ZUMTHOR (1943–)

MASTER OF ATMOSPHERE AND SENSORY ARCHITECTURE

• Born in Basel, trained as cabinetmaker

• Deep focus on materials, craft, and site

• Founded studio in Haldenstein, Swiss Alps

• Architecture is sensory, not visual

• Begins each project with the mood he wants you to feel

• Avoids style—lets function and site shape form

• Works slowly with precision

• Every element (light, smell, sound, texture) aligned

• Spaces feel timeless, quiet, intimate

• Does not design for attention or trends

• Influenced by phenomenology—focus on direct, lived experience through the senses

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PURPOSE & DESIGN

• Make buildings feel like they belong to place

• Create memory through silence and detail

• Use architecture to slow people down

• Design for feeling, not appearance

KEY ELEMENTS

• Materials must express their nature

• Light enters softly—never harsh

• Sounds are tuned to space (quiet, echo, warmth)

• Interiors feel close and human-scaled

• Strong contrast between solid and void

• Architecture unfolds slowly with movement

• Exterior and interior in constant tension

• Nothing decorative—everything essential

• Atmosphere comes before form

“I work from the body and the senses.” – Zumthor

MOVEMENT, MATERIAL, FUNCTION

THERME VALS (Vals, Switzerland, 1996) pz

Movement

• Organicism

• Phenomenology

Purpose: Thermal spa built into natural hot spring site

• Designed for sensory immersion in water and stone

• for healing

Materials

• Local quartzite

• Hidden concrete core

• Glass for water reflections

FORM N STRUCTURAL FEATURES

THERME VALS (Vals, Switzerland, 1996) pz

Form and Structure

• Labyrinth of stone rooms and baths

• Roof buried in hill

• Walls from stacked slabs

• rectangular light openings

INTEGRATION WITH NATURE n LIGHT

THERME VALS (Vals, Switzerland, 1996) pz

Nature Integration

• Blends into slope

• Frames parts of mountain - visible through windows

• Water, stone, air become architecture

Lighting

• Narrow slits

• Reflections on water

• Shadows move with time

• light diffuses through mist n fog

• bright outside, dim inside

INTERIOR

THERME VALS (Vals, Switzerland, 1996) pz

• Shifts in temperature, darkness

• water sounds

• Space isolates you from outside world

MOVEMENT, MATERIAL, FUNCTION

BRUDER KLAUS CHAPEL (Mechernich, Germany, 2007) pz

Movement

• Organicism

Purpose: Rural Catholic chapel

• (commissioned) Built by farmers for silent prayer

Materials

• Concrete poured around tree trunks

• Burned-out wood leaves charred interior

FORM N STRUCTURAL FEATURES

BRUDER KLAUS CHAPEL (Mechernich, Germany, 2007) pz

Form and Structure

• Vertical tower with pointed top

• Single entrance and skylight

• triangular door

INTEGRATION WITH NATURE n LIGHT

BRUDER KLAUS CHAPEL (Mechernich, Germany, 2007) pz

Nature Integration

• Stands in empty field without landscaping

• Blends into soil like a natural object

• water entrance from open top

• earth air water = part of the design

Lighting

• Light only from skylight

• Highlights rough, blackened walls

INTERIOR

BRUDER KLAUS CHAPEL (Mechernich, Germany, 2007) pz

• One-person entry

• Dark, echoing, smells like burnt wood

• Evokes silence and reflection

• feels closure to nature than traditional church

• cold n dark

MOVEMENT, MATERIAL, FUNCTION

KOLUMBA MUSEUM (Cologne, Germany, 2007) pz

Movement

• partially Organicism

Purpose: Museum of religious art built over ruins

• Combines archaeology and modern design

Materials

• Custom grey brick

• Timber ceilings, concrete floors

• stone

• steel columns

FORM N STRUCTURAL FEATURES

KOLUMBA MUSEUM (Cologne, Germany, 2007) pz

Form and Structure

• New walls float beside old ruins

• perforated brick = light and ventilation

• ancient inside, respected interior

• geometry

• Brick color matches historic buildings

• Ruins visible under glass floors

INTEGRATION WITH NATURE n LIGHT

KOLUMBA MUSEUM (Cologne, Germany, 2007) pz

Lighting

• Daylight filtered through perforated brick

• Light reveals art, not space

• no artificial spotlight in ruins

INTERIOR

KOLUMBA MUSEUM (Cologne, Germany, 2007) pz

• No signage or forced path

• Visitors move slowly

• quiet transition between new and old

MOVEMENT, MATERIAL, FUNCTION

PETER ZUMTHOR’S ATELIER (Haldenstein, Switzerland, 1986) pz

Architectural Movement

• Organicism

• Phenomenologic

Purpose and Function: Personal architectural studio

• Space for design, model-making, and reflection

• Built close to his home in a remote alpine village

Materials

• Vertical untreated wooden planks

• Timber frame

• Minimal glass openings

• Concrete foundation

FORM N STRUCTURAL FEATURES

PETER ZUMTHOR’S ATELIER (Haldenstein, Switzerland, 1986) pz

Form and Structure

• Long rectangular box

• Wood façade with no ornament

• One small square window

• Weathering wood shows passage of time

  • gets darker

• Simple pitched roof

INTEGRATION WITH NATURE n LIGHT

PETER ZUMTHOR’S ATELIER (Haldenstein, Switzerland, 1986) pz

Integration with Nature/Context

• Located in rural landscape with mountains nearby

• Building weathers with snow, rain, and sun

• Natural change visible in wood color

• Blends with alpine village vernacular

Lighting

• One small window frames a single view

• Natural light controlled and directional

• Creates focus, not illumination

INTERIOR

PETER ZUMTHOR’S ATELIER (Haldenstein, Switzerland, 1986) pz

Visitor Experience

• Darkness emphasizes material and texture

• Light and space slow the pace of thought

• Studio feels like a retreat from noise and image

SNØHETTA (Founded 1989, Norway)

NATURE-ORIENTED ARCHITECTURE WITH PUBLIC INTENT (NO)

• Founded by Craig Dykers, Kjetil Trædal Thorsen in Oslo

• 240+ people across Oslo, New York, Paris, and more

• Works across architecture, landscape, interior, and art

• International projects with strong local sensitivity

Purpose

• Design for people and public use

• Blur boundary between nature and building

• Respond to site, not impose on it

• Prioritize user experience over image

Design Philosophy

• Nature is part of the building, not the view

• Use defines form—not style

• Materials adapt to place and climate

• Designs come from teamwork, not one voice

Key Elements

• Natural materials: wood, stone, glass

• Forms shaped by terrain, light, and weather

• Open interiors—no clear divide with outdoors

• Sustainability integrated from the start

• Projects invite public interaction and reflection

MOVEMENT, MATERIAL, FUNCTION

NORWEGIAN NATIONAL OPERA AND BALLET (Oslo, Norway, 2000–2008) s

Architectural Movement

• Organicism

• Modernism

Purpose and Functionality

• National opera and ballet house

• Cultural icon and public plaza

Materials

• White granite

• Thin glass

• Local natural wood

• Reinforced concrete, steel

• Fabric (acoustics and seating)
  

FORM N STRUCTURAL FEATURES

NORWEGIAN NATIONAL OPERA AND BALLET (Oslo, Norway, 2000–2008) s

Structural Features

• Wide ramps connect city and building

• Interior clad in warm local materials

• Sloped roof designed as public walkable plaza

• Geometric form inspired by glacier or hill - surrounding mountains

INTEGRATION WITH NATURE n LIGHT

NORWEGIAN NATIONAL OPERA AND BALLET (Oslo, Norway, 2000–2008) s

Integration with Nature

• Faces Oslofjord—sea in front, hills behind

• Architecture becomes topography

• Glass reflects water and sky

Lighting and Atmosphere

• Glass brings daylight deep into interior spaces

• Glows like ice at night

• Natural light reflects inside and on the water

INTERIOR

NORWEGIAN NATIONAL OPERA AND BALLET (Oslo, Norway, 2000–2008) s

Interior Experience

• Grand staircase of Norwegian oak

• Contrast between bright lobby and dark theatre

• Public can walk on, through, and into the building

MOVEMENT, MATERIAL, FUNCTION

HUNTING LODGE (Norway, 2013) s

Architectural Movement
Organic

Function: Private mountain retreat and seasonal shelter

Material

• Locally sourced timber

• Stone

• Glass

• Green roof vegetation

FORM N STRUCTURAL FEATURES

HUNTING LODGE (Norway, 2013) s

Form and Structure

• Low-profile curved structure

• Roof blends with hillside

• Openings positioned for key views and daylight

INTEGRATION WITH NATURE n LIGHT

HUNTING LODGE (Norway, 2013) s

Integration with Nature

• Roof changes color with seasons

• Visual footprint merges into surrounding terrain

• Built into the land rather than placed on it

Lighting and Atmosphere

• Narrow window slits filter light

• Interior lit by fire and ambient daylight

• Shelter feels embedded in its environment

INTERIOR

HUNTING LODGE (Norway, 2013) s

Interior Experience

• Silent and protective

• Views feel curated, not exposed

• Feels part of the mountain

MOVEMENT, MATERIAL, FUNCTION

WILD REINDEER CENTRE PAVILION (Dovrefjell National Park, Norway, 2011) s

Architectural Movement

• Organicism

• Minimalism

Function

• Wildlife observatory and educational space

• Quiet shelter where visitors can sit, watch nature, and observe wild reindeer.

Material Palette

• Light wood

• Steel

• Glass

FORM N STRUCTURAL FEATURES

WILD REINDEER CENTRE PAVILION (Dovrefjell National Park, Norway, 2011) s

Form and Structure

• Curved wood façade over rectangular plan

• Glass walls on 3 sides, wood on 1

• Interior carved into soft organic seating