MODERN BİR ÖRNEK - Pierre Chareau-Bernard Bijvoet, Maison .

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MODERN BİR ÖRNEK - Pierre Chareau-Bernard Bijvoet, Maison de Verre, Paris,1928-31

MODERN BİR ÖRNEK - Willem Dudok, Town Hall, Hilversum, 1924-31

MODERN BİR ÖRNEK - Eileen Gray, E1027 Evi, Cap Martin, 1926-9

MODERN BİR ÖRNEK - Tel Aviv, Bauhaus yapıları, 1930’lar

Erken tarihli bir yarışma ve “modern olmayan”ın zaferi, Chicago Tribune Yarışması, 1922

Bernard Bijvoet - Johannes DuikerErken tarihli bir yarışma ve “modern olmayan”ın zaferi, Chicago Tribune Yarışması, 1922

1927’den alıntılarla yapılan International Style MOMA Sergisi’nde önemli yeri olanWeissenhofsiedlung, Stuttgart, 1927, Modernist bir konut adası sergisi, Deutsche Werkbund

Weissenhof Siedlung, Mies Van der Rohe Bloğu, 1927

Le CorbusierHans Scharoun1927’den alıntılarla yapılan International Style MOMA Sergisi’nde önemli yeri olanWeissenhofsiedlung, Stuttgart, 1927, Modernist bir konut adası sergisi, Deutsche Werkbund

J.J.P.OudLe Corbusier1927’den alıntılarla yapılan International Style MOMA Sergisi’nde önemli yeri olanWeissenhofsiedlung, Stuttgart, 1927, Modernist bir konut adası sergisi, Deutsche Werkbund

“Arab village”, a “Little Jerusalem” and a “city eyesore”– that’s how the newspapers of the time reacted. Thewhite concrete cubes didn’t really fit into the selfconscious Stuttgart of the Nazi period.Weissenhofsiedlung’a yönelik alaycı bir Nazi eleştirisi

Hannes MeyerLe Corbusier1927’den alıntılarla yapılan International Style MOMA Sergisi’nde önemli yeri olanBirleşmiş Milletler Binası yarışması 1927

Bernard Bijvoet - Johannes DuikerRichard Neutra1927’den alıntılarla yapılan International Style MOMA Sergisi’nde önemli yeri olanBirleşmiş Milletler Binası yarışması 1927

La Sarraz, 1928Congrès Internationaux de l’Architecture Moderne (CIAM), 1928

Existenzminimum, Mimimum Space for Living!Congrès Internationaux de l’Architecture Moderne (CIAM), 1929, Frankfurt Posteri

Mies van der Rohe, Barcelona Pavilion, 1929, yeniden yapımı 1980ler

Mies van der Rohe, Barcelona Pavilion, 1929, yeniden yapımı 1980ler

Le Corbusier, Villa Savoye, Poissy, 1928-31

Le Corbusier, Villa Savoye, Poissy, 1928-31

Le Corbusier, Villa Savoye, Poissy, 1928-31

Le Corbusier, Villa Savoye, Poissy, 1928-31

Frank Lloyd Wrigt, Fallingwater House, Pennsylvania, 1934-37

Frank Lloyd Wrigt, Fallingwater House, Pennsylvania, 1934-37

Frank Lloyd Wrigt, Fallingwater House, Pennsylvania, 1934-37

Frank Lloyd Wrigt, Johnson Wax Yönetim Binası, Wisconsin, 1936-39

Frank Lloyd Wrigt, Johnson Wax Yönetim Binası, Wisconsin, 1936-39

“Broadacre city is the country itself come alive as atruly great city. ”FLWFrank Lloyd Wrigt, Broadacre City, Kent Ütopyası, 1934-5

The 1933 rendering of Plan Obusfor Algiers demonstrates LeCorbusier’s superimposition ofmodern forms: the long archingroadway that includes housing-hisviaduct city-connecting centralAlgiers to its suburbs and thecurvilinear complex of housing inthe heights that accesses thewaterfront business district via anelevated highway bypassing theCasbah.Le Corbusier, Cezayir için Plan Obus, 1933

The core of Le Corbusier's design was the dormitoryslab with a sheer glass curtain wall. Critical to thesuccess of this south-facing glass wall was to havebeen a technologically ambitious system of doubleglazing and air conditioning ('respiration exacte'). Thesewere never built as intended, and the sheer skin of thewall was lost to Le Corbusier's trademark brisessoleils later on in an attempt to prevent the inhabitantsfrom overheating.Le Corbusier, Cité de Refuge, Paris, 1929-33

Le Corbusier, Pavillon Suisse, Paris, 1930-31

Le Corbusier, Pavillon Suisse, Paris, 1930-31

MODERN BİR ÖRNEK - Eileen Gray, E1027 Evi, Cap Martin, 1926-9 . MODERN BİR ÖRNEK - Tel Aviv, Bauhaus yapıları, 1930’lar. Erken tarihli bir yarışma ve “modern olmayan”ın zaferi, Chicago Tribune Yarışması, 1922.

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