Modern Architecture

Le Corbusier‘s Villa Savoye, a well known example of modern architecture	The ‘Glass Palace’ (1935) in the Netherlands by Frits Peutz, made purely of concrete, steel and glass	Trellick Tower, London featuring the Brutalist architecture of Ernő Goldfinger.
The Seagram Building, New York City, 1958. One of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism	Melnikov House near Arbat Street in Moscow by Konstantin Melnikov.	Marina City (left) and IBM Plaza (right) in Chicago.
Modern architecture is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament, that first arose around 1900. By the 1940s these styles had been consolidated and identified as the International Style  and became the dominant architectural style, particularly for institutional and corporate building, for several decades in the twentieth century. The exact characteristics and origins of modern architecture are still open to interpretation and debate. Origins Some historians see the evolution of modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions. Others see modern architecture as primarily driven by technological and engineering developments, and it’s plainly true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill’s ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron’s properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, “Dark satanic mills” of places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright‘s Unity Temple, built in 1906 near Chicago, and Rudolf Steiner’s Second Goetheanum, built from 1926 near Basel, Switzerland. Other historians regard modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau . Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. Modernism as dominant style By the 1920s the most important figures in modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Frank Lloyd Wright‘s career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture. In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson . Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style . This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. Modernism became the pre-eminent, and then (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as “machines for living”, but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was “bored with the box.” Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism. Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its appoach had become ossified in a “style” that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin “At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion.” At the Metropolitan Museum of Art, a 1961 symposium discussed the question “Modern Architecture: Death or Metamorphosis?” In New York, the coup d’état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of “air rights”, In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to “sever” the Park Avenue streetscape and “tarnish” the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates contemporary practice. Characteristics Modern architecture is usually characterized by: a rejection of historical styles as a source of architectural form (historicism) an adoption of the principle that the materials and functional requirements determine the result an adoption of the machine aesthetic a rejection of ornament a simplification of form and elimination of “unnecessary detail” an adoption of expressed structure Form follows function Some stars of Modernism Eileen Gray Walter Gropius Philip Johnson Louis Kahn Adolf Loos Oscar Niemeyer Peter and Alison Smithson Ralph Tubbs Otto Wagner Ludwig Mies van der Rohe Links Lotta Living Bulletin Board for fans of Mid-Century Modern Architecture “Architecture and Modernism” California Literary Review Mid-Century Modern Architecture in Northern California Mid-Century Modern Architecture in Southern California Graphic and chronological vision of modern architecture through its houses. Famous architects – Biographies of well-known architects, almost all of the Modern Movement.

Modern Architecture- Futuristic Facade

Bangkok, Thailand. Architecture of the Corbusian brise soleil and screened facade.		Bangkok, Thailand
Bangkok, Thailand		Marina City, Chicago.Bertram Goldberg, 1959-64.
181 Miller Street, North Sydney	201 Miller Street, North Sydney
Fashion Institute of Technology, New York	Fashion Institute of Technology, New York
In the late sixties the Miesien box combined with the Corbusian brise soleil to produce some highly original and “funky” articulated facades. A decorative reaction against the minimalist strictures of Internationalism and in a way the last gasp of the International Style. All about the facade (with some Post-war Futurist and Brutalist overtones at times).

Retro-futurism

An example in Shanghai of a retro-futuristic design in architecture.	Oriental Pearl Tower, Shanghai	In consumer culture.
Retro-futurism, retrofuturism, retro-future or retrofuture, terms combining “retro” and “futurism” or “future”, can refer to two distinct concepts: A style of design or art or a sociopolitical ideology. Retrofuturistic design is a return to, and an enthusiasm for, the depictions of the future produced in the past (most often the 1920s through 1960s), both in science fiction and in nonfiction futurism of the time, which often seem dated by modern standards.[1] The ideology combines retrograde sociopolitical views with techno-utopianism. This article focuses entirely on the first definition. Etymology The word “retrofuturism” was coined by Lloyd Dunn in 1983, according to a fringe art magazine published from 1988-1993. Characteristics Retro-futuristic settings fall into two main categories. The first is a total vision of the future as seen through the eyes of the past, often a utopian society characterized by high technology (relative to the base time), unusual or exaggerated artistic, architectural and fashion styles, and an abundance of consumer goods; its spirit of optimism and embracing of the status-quo is a contrast with cyberpunk, although in many cases the utopianism is presented in an intentionally ironic or camp light. Several films and television series of the past, which can be characterized as straightforward futurism in their own time, have been mined by artists and authors of the present to evoke retro-futuristic styles. The second type of setting are altered but recognizable versions of the past in which the exaggerated technological innovations which science fiction writers and illustrators imagined might be compatible with their own times (e.g. as created by a brilliant scientist) were indeed real. Examples include Sky Captain and the World of Tomorrow, set in an alternate 1939 which includes ray-guns, robots, and rocket-ships, which are rare and not characteristic of the technological fabric of the society as a whole; The Rocketeer, set in 1938, whose “futuristic” element is an experimental jet pack. There are also many works which take styles and genres of past eras and place them in a futuristic setting, such as the Old West elements in Firefly or the 1940s film noir elements in Blade Runner, but these would not generally be seen as retro-futuristic because they are not based on a specific past era’s vision of the future. Retrofuturistic elements have appeared in games such as BioShock (2007)[3][4] and Fallout 3 (2008). Design and arts A great deal of attention is drawn to fantastic machines, buildings, cities, and transportation systems. The futuristic design ethic of the early 20th century tends to solid colors, streamlined shapes, and mammoth scales. It might be said that 20th century futuristic vision found its ultimate expression in the development of googie or populuxe design. As applied to fiction, this brand of retro-futuristic visual style is also referred to as Raygun Gothic, a catchall term for a visual style that incorporates various aspects of the Googie, Streamline Moderne and Art Deco architectural styles when applied to retro-futuristic science fiction environments. Although Raygun Gothic is most similar to the googie or Populuxe style and sometimes synonymous with it, the name is primarily applied to images of science fiction. The style is also still a popular choice for retro sci-fi in film and video games.[citation needed] Raygun Gothic’s primary influences include the set designs of Kenneth Strickfaden and Fritz Lang.[citation needed] It is thought that the term was coined by William Gibson in his story The Gernsback Continuum: “Cohen introduced us and explained that Dialta [a noted pop-art historian] was the prime mover behind the latest Barris-Watford project, an illustrated history of what she called “American Streamlined Modern.” Cohen called it “raygun Gothic.” Their working title was The Airstream Futuropolis: The Tomorrow That Never Was.”[6] Architecture An example in Shanghai of a retro-futuristic design in architecture. Retro-futurism has appeared in some examples of postmodern architecture. In the example seen at right, the upper portion of the building is not intended to be integrated with the building but rather to appear as a separate object – a huge flying saucer-like space ship only incidentally attached to a conventional building. This appears intended not to evoke an even remotely possible future, but rather a past imagination of that future, or a reembracing of the futuristic vision of googie architecture. Further reading Astrofuturism: Science, Race, and Visions of Utopia in Space ISBN 0-8122-1847-7 Future Perfect ISBN 3-8228-1566-7 Out of Time: Designs for the Twentieth Century Future ISBN 0-8109-2939-2 Yesterday’s Tomorrows: Past Visions of the American Future ISBN 0-8018-5399-0 The History of the Future: Images of the 21st Century ISBN 2-08-013544-9 Futuropolis: Impossible Cities of Science Fiction and Fantasy ISBN 0-903767-22-8 Retrofuturism: The Car Design of J Mays ISBN 0-7893-0822-3 Where’s My Jetpack?: A Guide to the Amazing Science Fiction Future that Never Arrived ISBN 1-59691-136-0

Raygun Gothic- Late Futuristism

TWA Terminal  JFK Airport	New York State Pavilion
Raygun Gothic A 1950s coffee shop sign evocative of then-nascent spaceflight on Olympic Boulevard in Los Angeles Raygun Gothic is a catchall term for a visual style that incorporates various aspects of the Googie, Streamline Moderne and Art Deco architectural styles when applied to retro-futuristic science fiction environments. Academic Lance Olsen has characterised Raygun Gothic as “a tomorrow that never was”. The style has also been associated with architectural indulgence, and situated in the context of the golden age of modern design due to its use of features such as “single-support beams, acute angles, brightly colored paneling” as well as “shapes and cutouts showing motion” Origin The term was coined by William Gibson in his story “The Gernsback Continuum”: Cohen introduced us and explained that Dialta [a noted pop-art historian] was the prime mover behind the latest Barris-Watford project, an illustrated history of what she called “American Streamlined Modern.” Cohen called it “raygun Gothic.” Their working title was The Airstream Futuropolis: The Tomorrow That Never Was. – William Gibson, The Gernsback Continuum Although Raygun Gothic is most similar to the Googie or Populuxe style and sometimes synonymous with it, the name is primarily applied to images of science fiction — it describes the typical mad scientist laboratory as seen in films like Bride of Frankenstein and Fritz Lang’s Metropolis, as well as the architecture of The Jetsons and, more recently, Futurama and Dexter’s Laboratory. The style is also still a popular choice for retro sci-fi in film and video games, such as the designs for the films Mars Attacks! or Sky Captain and the World of Tomorrow and the video game series Fallout. Raygun Gothic’s primary influences include the set designs of Kenneth Strickfaden and Fritz Lang. Citations ^ Olsen, Lance. “”The Future of Narrative”: Speculative Criticism: or Thirteen Ways of Speaking in an Imperfect Tense”. ParaDoxa 4 (11): 375. Retrieved on 3 November 2007. ^ a b “Raygun Gothic and Populuxe Culture: The Next American City, Today!”. The Next American City (2008-01-14). Retrieved on 2008-01-21. ^ “The Gernsback Continuum” in Gibson, William (1986). Burning Chrome. New York: Arbor House. ISBN 9780877957805. References Alonso, Carlos (1998). Julio Cortázar. Cambridge: Cambridge University Press. ISBN 9780521452106.
Futurism Futurism is a broad trend in modern design which aspires to create architecture of an imagined future, normally thought to be at least 10 years into the future. The beginnings of Futurist architecture go back to the visionary drawings of Italian architect Antonio Sant’Elia, as well as the “Googie architecture” of 1950s California and subsequent Space Age trends. Early features of Futurism included fins and ledges, bubble shapes and sweeping curves. The style has been reinterpreted by different generations of architects across several decades, but is usually marked by striking shapes, clean lines, and advanced materials. One of the original futurists is the California-based architect William Pereira, who designed the Encounter Restaurant at LAX Airport and the Transamerica Pyramid. Later firms whose work fits in this category include Arthur Erickson Architectural Corporation and Carlos A. Ott.

Googie architecture

Googie architecture (also known as populuxe or doo-wop)

The Space Needle, built for Seattle’s 1962 World’s Fair	Bob’s Big Boy restaurant in Toluca Lake or Burbank, California	Welcome to Fabulous Las Vegas sign.
2008- new Yahoo sign in Times Square, New York	Old Yahoo sign in Soho, New York (c. 1998-2004)	Pink Champagne Motel
Columbian Motel – Provo, Utah	1958 Buick	Classic Googie style in this sign from a 1950s era coffee chain in Los Angeles
A plumber’s sign on Westwood Blvd. shows what’s known amongst enthusiasts as “Googie Signage”	’50s era Googie style motel sign in San Francisco, CA	The Malibu Surfer Motel, Malibu, CA.
Googie ashtray circa 1950 by the industrial designer Maurice Ascalon, manufactured by the Pal-Bell Company.	Interior view of la Maison de la Radio in Paris	Gas station in Beverly Hills, CA., constructed in the Googie style.
Nine flared steel pennants support a car wash in San Bernardino	Cooper Foundation Cinerama Theatre, Denver, CO	McDonnell Planetarium (1963), designed by Gyo Obata
Robinson’s department store, Fashion Island (William Pereira, 1967), an example of Spanish inspiration.	Thunderbirds (UK “American” action puppet TV show 1960s) – Cover Of “Action Alert”	Thunderbirds- Cover Of “Countdown To Action”
Following images with special thanks to- http://www.cresthistory.org/doowop.php , THE “DOO WOP” ARCHITECTURE OF WILDWOOD CREST
Admiral Motel 7200 Ocean Avenue (1964). Original owners Eugene and Anne Davolos. Designed and built by Lou Morey. Doo Wop style: Modern/Blast Off.	Ala Kai Motel 8301 Atlantic Avenue (1963). Original owners Kurt and Gertrude Burghold. Doo Wop style: Tiki/Polynesian.	Caribbean Motel 5600 Ocean Avenue (1958). Original owners: Dominic and Julie Rossi. Designed and built by Lou Morey. Doo Wop style: Tiki/Polynesian/Modern.
Casa Bahama Motel 7301 Atlantic Avenue (1959). Original owners: Chester & Catherine Jastremski. Doo Wop style: Tiki/Polynesian. (Demolished in February of 2005.)	Casa Bahama’s classic neon sign.	Ebb Tide detail, showing its unusual slanted walls.
Googie architecture Googie architecture (also known as populuxe or doo-wop) is a form of novelty architecture and a subdivision of futurist architecture, influenced by car culture and the Space Age and Atomic Age. The style is related to and sometimes synonymous with the Raygun Gothic style as coined by writer William Gibson. Originating in Southern California in the late 1940s and continuing approximately into the mid-1960s, the types of buildings that were most frequently designed in a Googie style were motels, coffee houses and bowling alleys. Features of Googie include upswept roofs, curvaceous, geometric shapes, and bold use of glass, steel and neon. Googie was also characterized by space-age designs that depict motion, such as boomerangs, flying saucers, atoms and parabolas, and free-form designs such as “soft” parallelograms and the ubiquitous artist’s-palette motif. These stylistic conventions reflected American society’s emphasis on futuristic designs and fascination with Space Age themes. As with the art deco style of the 1930s, Googie became undervalued as time passed, and many buildings built in this style have been destroyed. Origins According to author Alan Hess in his book Googie Redux: Ultramodern Roadside Architecture, the origin of the name Googie goes back to 1949, when architect John Lautner designed the coffee shop Googie’s, which had very distinctive architectural characteristics. Googie’s was located at the corner of Sunset Boulevard and Crescent Heights in Los Angeles but was demolished in the 1980s. According to Hess, the name Googie stuck as a rubric for the architectural style when Professor Douglass Haskell of Yale and architectural photographer Julius Shulman were driving through Los Angeles one day. Haskell insisted on stopping the car upon seeing Googie’s and proclaimed. “This is Googie architecture.” He made the name stick after an article he wrote appeared in a 1952 edition of House and Home magazine. History Googie’s roots lie in the Streamline Moderne architecture of the 1930s.[2] Alan Hess, one of the most knowledgeable writers on the subject, writes in Googie: Ultra Modern Road Side Architecture that mobility in Los Angeles in 1930s was characterized by the initial influx of the automobile and the service industry that evolved to cater to it. With car ownership increasing, cities no longer had to be centered on a central downtown but could spread out to the suburbs, where business hubs could be interspersed with residential areas. The suburbs offered less congestion by offering the same businesses, but accessible by car. Instead of one flagship store downtown, businesses now had multiple stores in suburban areas. This new approach required owners and architects to develop a visual brand so customers would recognize it from the road. This modern consumer architecture was based on communication.[3] The new smaller suburban stores were essentially signboards advertising the business to vehicles on the road. This was achieved by using bold style choices, including large pylons with elevated signs, bold neon letters and circular pavilions.[4] Hess writes that due to the increase in mass production and travel in the 1930s, Streamline Moderne became popular due to the “high energy silhouettes its simplistic designs created.”[5] These buildings featured rounded edges, large pylons and neon lights, all symbolizing, according to Hess, “invisible forces of speed and energy,” that reflect the influx of mobility that cars, locomotives and zeppelins brought.[5] Streamline Moderne, much like Googie, was styled to look futuristic to signal the beginning of a new era – that of the automobile. Drive-in services such as diners, movie theaters and gas stations built with the same principles developed to serve the new American city.[5] Drive-ins led the way in car-oriented architectural design, as they were built in a purely utilitarian style, circular and surrounded by a parking lot, allowing all customers equal access from their cars.[6] These developments in consumer oriented design set the stage for Googie in the 1950s, since during the 1940s World War II and rationing led to a pause in the development due to the imposed frugality on the American public. The 1950s, on the other hand, celebrated its affluence with decadent designs. The development of atomic energy and the reality of space travel captivated the public’s imagination of the future.[7] This was the vision that architects looked to for reinventing modern architecture. Googie architecture tapped this vision by incorporating energy into its design with elements such as the boomerang, diagonals, atomic bursts and bright colors.[8] According to Hess, increasing consumer edge to commercial architecture was influenced by the desires of the mass audience.[9] The public was captivated by rocket ships and the atomic energy, so, in order to draw their attention, architects used these as motifs in their work. Buildings had been used to catch the attention of motorists since the invention of the car, but the 1950s took it a step further and created a genre of architecture that was used exclusively for the roadside service industry. The identity of the first architect to practice in the style is often disputed, though Wayne McAllister is usually given credit for kick-starting the style with his 1949 Bob’s Big Boy restaurant in Toluca Lake. McAllister got his start designing Streamline Moderne drive-ins during the 1930s and did not have any formal training as an architect.[10] McAllister developed a brand for coffee shop chains by developing a style for each client – which also allowed customers to easily recognize a store from the road.[11] Along with McAllister, the most prolific Googie architects were John Lautner, Douglas Honnold and the team of Louis Armet and Eldon Davis. Also instrumental in developing the style was designer Helen Liu Fong, a key member of the firm of Armet and Davis. Joining the firm in 1951, she created such iconic Googie interiors as those of the Johnie’s Coffee Shop on Wilshire Boulevard and Fairfax Avenue, the first Norm’s Restaurant on Figueroa Street, and the Holiday Bowl on Crenshaw Boulevard. America’s preoccupation with space travel had a significant influence on the unique style of Googie architecture. Speculation about space travel had roots going as far back as 1920s science fiction. In the 1950s, space travel became a reality for the first time in history. In 1957, America’s preoccupation grew into an obsession, when the Soviet Union launched Sputnik I, the first human-made satellite that “slipped the surly bonds of Earth.”[12] The obsession intensified into a near mania when the Soviet Union launched Vostok 1 carrying the first human, Yuri Gagarin, into Earth orbit in 1961. The Eisenhower and Kennedy administrations made competing with the Soviets for dominance in space a national priority of considerable urgency and importance. This marked the beginning of “The Space Race.” With space travel such an important part of the national zeitgeist, architects decided that they wanted to give people a little taste of the future in the here and now. Googie style signs usually have something with sharp and bold angles, which suggest the aerodynamic features of a rocket ship. Also, at the time, the unique architecture was a form of architectural braggadocio, as rockets were technological novelties at the time. Perhaps the most famous example of Googie’s legacy is the Space Needle in Seattle, Washington. A revealing comparison can be made between the Space Needle and the non-Googie Osaka Tower of 1966.[citation needed] Characteristics Cantilevered structures, acute angles, illuminated plastic panelling, freeform boomerang and artist’s palette shapes and cutouts, and tailfins on buildings marked Googie architecture, which was beneath contempt to the architects of Modernism, but found defenders in the post-Modern climate at the end of the 20th century. The common elements that generally distinguish Googie from other forms of architecture are: Roofs sloping at an upward angle – This is the one particular element in which architects were really showing off, and also creating a unique structure. Many roofs of Googie style coffee shops, and other structures, have a roof that appear to be 2/3 of an inverted obtuse triangle. A great example of this is the famous, but now closed, Johnie’s Coffee Shop on Wilshire Boulevard in Los Angeles. Starbursts – Starbursts are an ornament that goes hand in hand with the Googie style, showing its Space Age and whimsical influences. Perhaps the most notable example of the starburst appears on the “Welcome to Fabulous Las Vegas” sign, which has now become somewhat famous. The ornamental design is in the form of, as Hess writes, “a high-energy explosion.”[13] This shape is born of the 1950s fascination with the future and atomic age. It’s also an example of non-utilitarian design as the star shape has no actual function but merely serves as a design element. The boomerang was another design element that captured movement. It was used structurally in place of a pillar or esthetically as a stylized arrow. Hess writes that the boomerang was a stylistic rendering of a protruding energy field.[14] Architecture professor Douglas Haskel (mentioned below) perhaps described the Googie style best, saying that, “If it looks like a bird, it must be a geometric bird.” Also, the buildings must appear in some cases to defy gravity, as Haskel noted that, “Whenever possible, the building must hang from the sky.” Googie is not a style noted for its subtlety, as inclusion, rather than minimalism, is one of the central features. The most famous Googie building may be the Theme Building at Los Angeles International Airport (LAX) designed by James Langenheim of Pereira & Luckman and built in 1961. One of the last remaining and largest Googie-styled drive-in restaurants, Johnie’s Broiler in Downey, California, was partially demolished in 2007. Districts Classic locations for Googie or Doo-Wop buildings are Miami Beach, Florida, where secondary commercial structures took hints from the resort Baroque of Morris Lapidus and other hotel designers; the first phase of Las Vegas, Nevada; and Southern California, where Richard Neutra built a drive-in church in Garden Grove. The beachfront community of Wildwood, New Jersey features an array of motel designs, colorfully described by such sub-styles as Vroom, Pu-Pu Platter, Phony Colonee and more.[15][16] The district is collectively known as the Wildwoods Shore Resort Historic District by the State of New Jersey.[17] The term doo-wop was coined by New Jersey’s Mid-Atlantic Center For The Arts in the early 1990s to describe the unique, space-age architectural style. Many of Wildwoods Doo-Wop motels were built by Lou Morey, who specialized in such designs.[18] His Ebb Tide Motel, built in 1957 and demolished in 2003, is credited as the first Doo-Wop motel in Wildwood Crest.[19] Googie/Doo Wop architecture today The architectural community never appreciated or accepted Googie, considering it too flashy and vernacular for academic praise. The architecture of the 1970s reflected this change. The rise of postmodernism in architecture replaced Modernism. As Hess discusses, beginning in the 1970s, buildings were meant to blend in to the urban sprawl, not attract attention. Since Googie buildings were part of the service industry, most developers did not think they were worth preserving as cultural artifacts. Despite the humble origins of Googie, Hess writes that, “Googie architecture is an important part of the history of suburbia.” Googie was a symbol of the early days of car culture. It wasn’t until the 1990s that efforts at conservation began. By this time it was too late to save famous landmarks such as Googie’s and Ship’s which were demolished. Despite the loss of these important landmarks, other famous Googie buildings such as the Wich Stand and some of the original Bob’s Big Boy locations have been preserved and even restored to their original splendor. In Wildwood, a “Doo Wop Preservation League” works with local business and property owners, city planning and zoning officials, and the state’s historic preservation office to help ensure that the remaining historic structures will be preserved. Wildwood’s high-rise hotel district that is the first of its kind in the nation to enforce “Doo Wop” design guidelines for new construction. Influence Googie Architecture developed from the futuristic architecture of Streamline Moderne, but at the same time rejected it. While 1930s architecture called for simplicity, Googie embraced excess. Hess argues that the reason for this was that vision of the future of the 1930s was obsolete by 1950 and thus the architecture evolved along with it. During the 1930s, trains and zephyrs had been on the cutting edge of technology, and Streamline Moderne mimicked their smooth simplistic aerodynamic exteriors.[27] This simplicity may have reflected the depression era’s forced frugality. Googie heavily influenced retro-futurism. The somewhat cartoonish style is appropriately exemplified in the Jetsons cartoons, and the original Disneyland in Anaheim, California featured a Googie Tomorrowland (much of Tomorrowland still features Googie architecture, such as the Tomorrowland Terrace, Pizza Port, and Disneyland Railroad station). Googie was also the inspiration for the set design style of The Incredibles. The eye-catching style flourished in a carnival atmosphere along multi-lane highways, in motel architecture and above all in signage. Private clients were the backbone of Googie, though the Seattle Space Needle qualifies as “establishment Googie” (even though the Space Needle is, and always has been, privately owned). Ultimately, the style fell out of favor and, over time, numerous examples of the Googie style have either fallen into disrepair or been destroyed completely – usually being replaced with buildings that lack the distinctive flashiness of the style. References Hess, A. Googie Redux:Ultramodern Roadside Architecture, Chronicle Books, 2004. Further reading Books are arranged in chronological order by year of publication: Learning from Las Vegas, by Robert Venturi 1972 (ISBN 978-0262720069) Orange Roofs, Golden Arches by Philip Langdon 1986 Googie: Fifties Coffee Shop Architecture by Alan Hess, 1986 (ISBN 978-0877013341) Populuxe: the Look and Life of Midcentury America by Thomas Hine, 1986 (ISBN 978-1585679102) LA Lost and Found: An Architectural History of Los Angeles by Sam Hall Kaplan 1987 Pages 145-155 Southern California in the 50s by Charles Phoenix 2001 Los Angeles Neon by Nathan Marsak and Nigel Cox 2002 Mimo: Miami Modern Revealed by Eric P. Nash and Randall C. Robinson, Jr. 2004 Googie Redux: Ultramodern Roadside Architecture by Alan Hess, 2004 (ISBN 081184272X) Doo Wop Motels: Architectural Treasures of The Wildwoods by Kirk Hastings 2007 The Leisure Architecture of Wayne McAllister by Chris Nichols, 2007 (ISBN 978-1586856991)
The lava lamp, first marketed in 1965, was initially named the “Astro Lamp”
Link- www.doowopusa.org http://www.cresthistory.org/doowop.php

Post-war Futurism

Library, University of California, Irvine (William Pereira, 1965)	Cathedral, Brasilia (Oscar Niemeyer, 1960)	McGaugh Hall, University of California, Irvine (Arthur Erickson, 1991)
Paris, near the Maison de la Radio	Ferrohouse in Zurich (Justus Dahinden, 1970)	Library, Oral Roberts University, (Frank Wallace, 1963)
Liverpool Metropolitan Cathedral, Sir Frederick Gibberd, 1967.	Boston City Hall
In the post-WWII era, futurism, toned down considerably, redefined itself in the context of Space Age trends, the car culture and a fascination with plastic. An example of this type of futurism is Googie architecture of 1950s California. Futurism is not a style but an open approach to architecture, so it has been reinterpreted by different generations of architects across several decades, but is usually marked by striking shapes, dynamic lines, strong contrasts and use of advanced materials. Capitol Records building, Hollywood, California (Welton Becket, 1956) Post WWII architects with futurist tendencies In the popular literature futurist is often used loosely to be describe architecture that has a strange or space age look. It is now sometimes conflated with blob architecture. The looser usage of futurism—which rarely involves issues of politics—is to be differentiated from the Futurist Movement of the 1920s. César Pelli Santiago Calatrava Archigram Louis Armet Welton Becket Arthur Erickson Future Systems Zaha Hadid John Lautner Virgilio Marchi Wayne McAllister Oscar Niemeyer William Pereira Patricio Pouchulu Eero Saarinen Marianne Koch Examples of post WWII futurism Capitol Records building, Hollywood, California (Welton Becket, 1956) Tomorrowland, at Disneyland in Anaheim, is perhaps the most famous outpost of futurism in the world. Capitol Records building, Los Angeles (Welton Becket, 1956) Dakin Building, Brisbane, California (Theodore Brown, 1986) Epcot Center, Walt Disney World, Florida Space Needle, Seattle (Victor Steinbrueck, 1963) Theme Building, Los Angeles International Airport (James Langenheim, 1961) Fiat Tagliero Building, Asmara, Eritrea (Giuseppe Pettazzi, 1938) California State University, Fullerton buildings (Howard van Heuklyn, 1967-1972) Oriental Pearl Tower, Shanghai (Jia Huan Sheng, 1995) Transamerica Pyramid, San Francisco (William Pereira, 1974) Burj al-Arab Hotel, Dubai (Thomas Wright, 1999) The Westin Bonaventure Hotel, Los Angeles (John Portman, 1976) Empire State Plaza, Albany, New York (Wallace Harrison, 1965-1978) Oral Roberts University (Frank Wallace, 1963) The Federal District of Brasilia, Brazil (Oscar Niemeyer, 1960) The Illinois, Chicago (Frank Lloyd Wright, 1956) This mile-tall skyscaper was believed feasible, but was never built. TWA Flight Center at Idlewild (now John F. Kennedy) Airport, New York City (Eero Saarinen, 1962) Louvre Pyramid, Paris (I. M. Pei, 1989) CN Tower, Toronto Jeppesen Terminal at Denver International Airport, Denver, Colorado US Pavilion at Expo 67, Montreal (Buckminster Fuller, 1967) References ^ Günter Berghaus (2000). International Futurism in Arts and Literature. Walter de Gruyter. p. 364. ISBN 3110156814.

Post War Stripped Classical

Lincoln Center for the Performing Arts, New York. Philip Johnson, 1960.	Mies van der Rohe Crown Hall  Illinois Institute of Technology	Eliel Saarinen in his art gallery at Cranbrook, Michigan
National Library, Parkes Place West, Parkes, ACT. Bunfling & Madden,1964. A contemporary derivation in the spirit of Graeco-Roman architecture.	The Woodland Cemetery, Stockholm, Sweden.
The flame of classicism has burned for two-and-a- half thousand years in the architecture of Western civilisation. Sometimes it has burned brightly, sometimes dimly, but it has never been extinguished. The flame was very low during the period following World War II. Traditionally inclined architects who had survived from the prewar decades had little opportunity to ply their classical trade in the austere years of the 1940s and early 1950s, when classicism was regarded as an irrelevant, unaffordable luxury. The flickering torch of classicism was carried by Mies van der Rohe in his elegantly sparse buildings on the campus of the Illinois Institute of Technology and by Eliel Saarinen in his art gallery at Cranbrook, Michigan. In Australia, as elsewhere, modernism was making its impact, and symmetry—the hallmark of classicism—was avoided like the plague by ‘progressive’ architects. Surprisingly, the Stripped Classical style made a comeback in the early 1960s. The American architect Philip Johnson, who had helped to coin the term ‘International style’ in the 1930s, gave notice that he was bored with mainstream modernism when he (with Max Abramovitz and Wallace K. Harrison) designed New York’s cultural hub, the Lincoln Center, in the form of three ultrasimplified, colonnaded, flat-roofed, ‘classical temples’ arranged around a formal, rectangular plaza. The Lincoln Center did not exactly set off a world-wide avalanche of stripped classicism, but it seemed to legitimise occasional essays in the idiom by less well-known architects. (Philip Johnson was heavily influenced by Italian Fascist design). In Australia, the Stripped Classical style won national prominence with the completion in 1968 of Walter Bunning’s National Library in Canberra’s ‘parliamentary triangle’ between Parliament House and Lake Burley Griffin. Bunning claimed that his marble-clad, colonnaded, rectangular prism had affinities with the Parthenon. Buildings in the Late Twentieth-Century Stripped Classical style are static rather than dynamic, and they show no vestiges of classical detail. The classical qualities that remain are those of predictability, symmetry, a strongly repetitive rhythm of columns or column-like elements, and a reliance on carefully considered proportions.

Stripped Classical

Sydney University Tennis Pavilion	Old Parliament House, Canberra; opened 1927	AMP building in Albury, New South Wales
To the architect committed to modernism in the early twentieth century, radical art movements such as Cubism and de Stiji provided powerful aesthetic stimuli, exploding traditional preoccupations with static symmetry. Any ‘style’ was considered abhorrent, none more so than a classical style (modernism was naïvely thought to be style- free). ‘Sterile symmetry’, ‘meaningless, nonfunctional ornament’ and other such derogatory phrases were used to denigrate buildings that made reference to any aspect of the classical past. The fact that some significant modern architects (for example, Le Corbusier, Ludwig Mies van der Rohe, Peter Behrens and Gunnar Asplund) had drawn strength from the classical tradition was ignored or explained away as an aberration which had somehow been corrected or eliminated. Architects not at the centre of the new movement but vaguely sympathetic to some of its apparent aims sometimes responded by embracing ‘simplicity’, which usually meant starting with a basically classical carcass and omitting or reducing the ornament. An Inter-War Stripped Classical building therefore tends to look like an INTER-WAR ACADEMIC CLASSICAL building from which the columns, entablatures and pediments have been peeled off or (which really amounts to the same thing) a starkly functional, symmetrical building to which the classical orders could easily be added. Rarely, however, was ornament completely eschewed, and a few touches of Art Deco were not uncommon. The Stripped Classical style was often used in America and Britain for public and institutional buildings which in earlier times would have worn the full panoply of classical detail. While there is no evidence that practitioners of the style were more attracted to extreme right-wing politics than were architects who favoured other styles, it may be noted that both Hitler and Mussolini found the idiom very palatable for public buildings glorifying their regimes. Well before the rise to power of the two European dictators just mentioned, Australia had already committed itself to an Inter-War Stripped Classical ‘temporary’ Parliament House in Canberra. The clarity of shape, the regular composition, the dazzling whiteness and the pleasantly human scale of this building make it a success story in Australian public architecture which deserves greater acknowledgement than it has received.
Link- http://www.sydneyarchitecture.com/STYLES/STY-I05.htm

Skyscraper Gothic

Chicago Tribune Tower. Raymond M. Hood and John Mead Howells, 1922.	Woolworth Building, New York. Cass Gilbert, 1911.	Mather Tower, Chicago. Herbert Hugh Riddle, 1928
General Electric Building, New York. Cross & Cross , 1939.	Barclay-Vesey Building, New York. Ralph Walker of McKenzie, Voorhees & Gmelin, 1923.	American Standard (Radiator) Building, Raymond Hood & André Fouilhoux, 1923.
The Cathedral of Learning, the fantastical Gothic skyscraper at the heart of the University of Pittsburgh.	The Cathedral of Learning. Charles Zeller Klauder, 1926-37.
State Theatre, Sydney. Henry White and John Eberson, 1929.	State Theatre, Sydney. Ceiling detail.	Former Sun Building, Sydney. J. Kethel, 1929.
Former Grace Building, Sydney. Morrow & Gordon, 1930. A direct copy of the Chicago Tribune building of 1922.The skyscraper evolved in the United States during the late nineteenth and early twentieth centuries. It was a response to high urban land values, and it was made feasible by the fireproofed steel structural frame and the elevator. By the early twentieth century the tall office building had become a powerful symbol of corporate prestige. Towers vied to outdo one another in sheer height, and their silhouettes against the sky became very important as they rose above their ground-hugging neighbours. The Woolworth Building in New York was completed in 1913, its 241-metre height accentuated by the insistent verticality of skillfully applied medieval styling. In 1922—23, after a well publicised international architectural competition, the Chicago Tribune newspaper built Raymond Hood’s winning design—a tower topped by a Gothic ‘lantern’ ringed by Gothic ‘buttresses’. The case for Skyscraper Gothic was simple and powerful: Gothic cathedrals soared; skyscrapers soared; therefore the Gothic style was appropriate for skyscrapers. Whether the soaring was towards God or Mammon seemed to matter little. The Woolworth Building and the Chicago Tribune Tower are among the best known of these medievalised high-rise office blocks, and a close look at them shows that the Gothic detail tends to be spread fairly thinly, with concentrations where the visual impact is most telling. The real influence of these buildings is to be found in the fins and other vertical features of the many Art Deco skyscrapers which had the insistent upward drive of Skyscraper Gothic without its specifically medieval characteristics. Taking a cue from the 1913 Woolworth Building in New York, many essays in the style used architectural terracotta (faience) as a facing material. Especially popular during the 1930s, terracotta enabled the designer to choose from a wide range of colours. The versatile material enabled complex Gothic shapes to be mass-produced from moulds or cast in special configurations for ‘one-off’ details such as lettering. Adapted from: “A Pictorial Guide to Identifying Austrlian Architecture; Styles and Terms from 1788 to the Present” RICHARD APPERLY, ROBERT IRVING, PETER REYNOLDS. PHOTOGRAPHS BY SOLOMON MITCHELL. Angus & Robertson Sydney 1995 ISBN 0207 18562 X Copyright © 1989 by Richard Apperly, Robert Irving and Peter Reynolds.
Link- http://www.sydneyarchitecture.com/STYLES/STY-I12.htm

Art Deco Byzantine-Deco architecture

Michelin Building Chelsea: Art Nouveau – Art Deco. François Espinasse, 1909.	Jacksonville Public Library, Jacksonville,  FL, 2003. Robert AM Stern.	Anzac War Memorial, Sydney. C.Bruce Dellit, 1929.
Ceiling detail, Australian War Memorial. Interiors often incorporate Byzantine techniques (esp. mosaic tiling).	Former Odeon, Manchester.	Roxy Parramatta, Sydney, 1930. Deco-Byzantine massing with Spanish mission details.
Barclay-Vesey Building, New York. Ralph Walker of McKenzie, Voorhees & Gmelin, 1923.	American Standard (Radiator) Building, Raymond Hood & André Fouilhoux, 1923.	South London- St Edmund’s RC in Beckenham which is a simple barn but has a power-station gothic art deco tower.
Weill Hall, Ford School, Uni Michigan. Robert AM Stern, 2002.
Shrine of Remembrance in Melbourne. Aerial view of the dedication ceremony 11 November, 1934.
Australian War Memorial, Canberra. Emil Sodersteen and John Crust, 1941.
Byzantine-Deco as a style refers to the characteristic of late neo-classical and Art Deco architecture to use neo-Byzantine massing with the main body of the building, displaying a Palladian sense of symetry. It was used mainly for important institutional and public buildings (libraries, war memorial, etc). It differs from the retrospective NeoByzantine style of the mid to late nineteenth century in that this style was mainly ecclesiastical and heavily ornamented.