Comparison Of The Chrysler Building And The Seagram Building

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

I was recently in Washington D.C. where I visited a number of public buildings. I immediately thought of Washington D.C. when I saw this discussion assignment. There are an abundance of buildings there designed in the classical order. However, I will focus on the U.S. Supreme Court building – which is one of the three above.

The Chrysler Building is an Art Deco style skyscraper in New York City, located on the east side of Manhattan. At 1,046 feet, the structure was the world's tallest building for 11 months before it was surpassed by the Empire State Building in 1931.

West Des Moines holds a wide range of structural appearances that possess different purposes and stand for different ideas. Variation sets buildings and its surrounding areas that are privately owned apart from those that are open to the public. Although, the significance behind structures may go into deeper meanings. Some hold specific purposes that involve religion while others stand to serve on more secular grounds. If we take the time to look around, we can discover how interior and exterior design conveys distinct meaning. By entering into these buildings, we may discover the diverse functions they serve in relation to structural engineering and unique aesthetics. The framework for centralized control within different societal environments

Think about Detroit and what it is today, would you have thought that Detroit’s skyline was the greatest in the world for architectural style? Well, you may have to change your mind. The roaring twenties were a time of growth and great economic wealth for many places, especially the United States and Europe. With new technology anything could happen as some would say it. Automobiles were very important and started to grow in the eyes of manufacturers and consumers. Detroit was growing with industrial and commercial spirit, big in the automotive business, Detroit had many jobs and factories inside the city limits. The country was on the rise and nothing could knock it down, the Art Deco architecture style was at its peak during the 1920’s. People say not to judge a book by its cover, don’t judge Detroit by what it is now, open the book to see that the motor city has a great history and this building is a part of it.

The list of historical buildings that act as museums is endless. International style arose to reflect the modernist art style and the social sensibilities of the 20th century. This design was often composed of simple material and straight lines. The goal of international style was to act as a blank canvas on which to display artworks. It wasn’t until later in the 20th century that

Washington DC is known for patriotic monuments and grand office buildings. The city’s architecture has become a cornerstone of the Capital’s identity and depicts the area’s unique and rich history. An overlooked part of Washington DC’s architecture is found in the city’s hotels. These buildings represent distinct architecture, tell aspects of the area’s most historic moments and have housed the prominent and elite who have come through the Capital within the past two centuries. The Omni Shoreham Hotel and the Willard InterContinental Hotel have many similarities, yet also many differences. All in all though, they both contribute to Washington DC’s identity. This paper will describe the hotels, analyze their architecture, explain their significance to American and DC history and culture and draw similarities and differences between the two buildings.

At the end of World War 1, people came to the realization that the values they held did not seem to correspond to what they believe in anymore because of what they experienced during the war; so, they decided to explore new ones. The 1920’s was an era of breaking social norms in America and adopting new ones that not everyone agreed with. This rebellious nature sparked an energetic and dynamic expression throughout the country. Architecture played an important role in contributing to the 1920’s that still reflects in the present.

The Seagram building is simple but historic at the same time, looking at it from a far view you don't get to observe its uniqueness. The Seagram building was designed by Mies van der Rode and was completed in 1958, the building is mostly made of glass and metal, it shows simplicity which was what Mies van der Rode believed in. Uses bronze I-beams, which its mainly for the facade to look elegant since is not the main function in the structure to sustain the building itself, but inside the building is where the real support is located and is also luxurious with the bronze, marble and travertine. Big open space in front of the building causes the building to be pushed back from Park avenue, but it creates an urban Plaza. Lever House is located almost in front of the Seagram Building, was design by Gordon Bunshaft and Natalie de Blois and was completed in 1952.

However, the monumental, sky scraping constructions of the 1920s and 30s were not constructed strictly for practical purposes and were often built as an expression of wealth and prosperity. The buildings of this period climbed higher than 102 stories tall, a noticeable increase from the last decade, the tallest being the Woolworth building, that stood at just 57 floors. This massive jump in heights was largely caused by a competitive nature. Whether this was displayed through extravagant decoration or height, each new addition to the American skyline was ‘bigger and better’ than the last. The outsides of these constructions were not decorated for artistic merit alone but a statement of success and achievement.

Today Chrysler is the ideal American brand. Through marketing efforts and engineering innovation, Chrysler continues to stand for style, quality, and affordability. In 2015, Chrysler designed the Chrysler 200 from the ground up which featured high quality design both on the interior and exterior (This is Chrysler, 2017). Mr. Marchionne delivered his promise to turn Chrysler around through changing the workflow and the organizational

skyscraper architecture "http://www.coshe.com/search/" The architectural design of the 20th century skyscrapers has been redefined due to the advancement of our modern technology. Benny Louie Humanity 450 Dr. Maureen Schmid 17 May 1999 The architectural design of the 20th century skyscrapers has been redefined due to the advancement of our modern technology. In our modern society, the architectural design of skyscrapers is changing the downtown landscape of metropolitan areas. Due to the change of technologies, it has changed the architectural design of skyscraper dramatically in terms of the its function, design structures, heating and cooling systems and it social status in society. The basic function of the architecture is to provide a

Today technology allows us to construct structures that we would never have been able to make in the past. Some of the creations are impressive based on what they accomplish but others are masterpieces in themselves. Man’s capability to build such tall buildings, as the skyscrapers we are familiar with covering our cities today, is a major expression of the advancements we have made as a culture. The power necessary to build such tall structures inspired competition between architects to see who could build the tallest one. One skyscraper that has inspired many and served as a model, for high rise buildings that were created after, is the Chrysler Building. The Chrysler Building serves as an identifying mark to anyone that

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

Built in the early part of the second half of the twentieth century, the Seagram Building is located in the borough of Manhattan in the City of New York, at 375 Park Avenue, between 52nd and 53rd Streets. This parcel is denoted as block number 10307 and lot number 0001 (the building occupies the entire block) (NYC Office of the City Register, 2012). Currently a general-use office building with a variety of tenants, the building has a recent yet rich history, occupying an area of Manhattan that used to be more devoted to manufacturing but that has since transitioned to upscale commercial and residential properties (Midtown Book, 2012). The building is also part of the Special Midtown District as defined by the zoning text adopted by the New York City Department of City Planning, which means a very specific chapter of the zoning text can be examined to learn all about the usage limitations and other restrictions and requirements on the property, which supersede the standard requirements for C 5-2.5 (Commercial areas 5-2.5) established in the city's zoning text (NYC Zoning Map 8d, 2011; NYC Buildings, 2012; NYC Zoning Resolution, 2011).