A History of Interior Design

Design on a New Playing Field 449

22.10 Toyo Ito, Mediatheque, Biomorphism Seattle, Washington (now the EMP Museum),
Sendai, Japan, 2001. was derided by critics when it opened in 2000,
Latticed steel columns emerge Using the tools of technology, designers are and a design for Washington, D.C.’s Corcoran
from street level, intersecting exploring alternative forms for undulating Gallery, perhaps too radical for that classical
all five levels of this glass- structures sculpted of concrete, flexible metals, context, was placed on hold.
wrapped cultural media center. wood, and even bamboo. The most provoca-
The columns serve as light tive early landmark of biomorphism was Frank In the Austrian city of Graz, Peter Cook
shafts as well as utility storage, Lloyd Wright’s Guggenheim Museum in New (b. 1936) designed the Kunsthaus (2003), an
changing diameter from floor York City (1957; see p. 406); recent manifesta- astonishing glass building whose swelling
to floor and echoing the trees tions were pioneered by Frank Gehry, whose proportions brought an alien presence to the
on the street outside. Guggenheim Museum Bilbao (see p. 438) Baroque city. In Toyo Ito’s transparent-façade
opened the door to countless applications of Mediatheque at Sendai, Japan (2001), biomor-
22.11 Zaha Hadid, BMW freeform computer-designed architecture by phic columns create the look of an interior
Central Building, Leipzig, drawing popular attention to, and acceptance landscape (22.10). Zaha Hadid’s BMW Central
Germany, 2005. of, previously inconceivable new building Building in Leipzig, Germany (2005), unifies
The interior of the biomorphic forms by other architects. factory, showroom, and offices with the bold
building is a series of intercon- forms of a glass and metal façade enclosing a
necting levels of concrete The bold biomorphic structures with system of elevated automobile conveyers tra-
and steel. Automobiles travel which Gehry has become associated have made versing the interiors (22.11). Hadid’s Opera
from one production area to him probably the world’s most widely pub- House in Guangzhou, China (2010), includes
another on raised conveyor lished architect, and in 2001 the Guggenheim spaces for theater and dance in a biomor-
belts, visible from all depart- Museum in New York staged a solo exhibi- phic exterior that evokes the topography of
ments and erasing the usual tion of his work. Starting with sketches and the surrounding landscape. The interior of
separation between blue hand-formed models and moving to sophis- the auditorium is sculpted with fluid forms of
and white collar employees. ticated architectural software, Gehry creates white fiberglass-reinforced gypsum. As her
forms that reinvent the conventional architec- career and reputation has grown, Hadid has
tural enclosure. He has applied the rippling moved into furniture design, translating her
curves made famous in Bilbao in varying itera- distinctive biomorphic forms in striking lim-
tions from exhibition venues to entertainment ited-edition pieces that are more art objects
facilities, offices, and apartment buildings, than functional ones. In 2004, she became the
finding new and often ingenious ways of first woman to be awarded the Pritzker Prize.
enclosing space and creating intriguing inte-
rior environments. Not all of Gehry’s designs Functional Deconstructivism
are universally admired: the squashed-gui-
tar form of the Experience Music Project in Polar opposites of organic forms, the disjunc-
tive, disjointed geometry of buildings with

450 Design on a New Playing Field

improbable silhouettes, jutting cantilevers, light and to mirror the surrounding mountains.
floors and walls that fail to intersect or intersect Similarly, the asymmetrical, curving silhouette
at unlikely angles all challenge the concept of of UNStudio’s Center for Virtual Engineering
how buildings should look. Daniel Libeskind was determined by the organization of the
(b. 1947) remains dedicated to a vocabulary interior spaces (22.13). Such buildings are ques-
of strikingly disruptive forms that are both tioning the manner in which structures are
thought-provoking and emotionally evoca- conventionally assembled.
tive. Libeskind’s Jewish Museum in Berlin
opened in 2001, but drew thousands of visi- Color Craftsmanship
tors on the strength of its unconventional
design even before any exhibits were installed. International Style modernism rejected color
Chosen after an international competition, its as well as pattern, with the notable exception
dynamic zigzag shape is punctuated by jagged of Luis Barragán (1902–88), whose modern-
cuts of windows and an open area that slices ist homes were characteristically wrapped in
through the center of the building. The delib- intense warm hues (see p. 417). Although short-
erately disturbing design, which is accessed lived, post-modernism played with color and
only via underground passages, is a metaphor pattern for provocative effects, the use of color
for the Holocaust it was intended to memori- in building exteriors was rare in the twentieth
alize. Although the Jewish Museum brought century. Contemporary architects, however,
Libeskind international attention, his design have returned to color, using it to create an
for the Imperial War Museum in Manchester, image or evoke a mood. The attention-getting
UK (2002), had similar resonance, with inter- bright pink, orange, yellow, and blue exte-
locking shattered segments that recalled the rior of the Fashion and Textile Museum (2003)
bombing of the city in World War II. His in Bermondsey, England, by Pritzker Prize
spectacular, though widely criticized, titanium- winner Ricardo Legorreta (1931–2011) is a bold
surfaced addition to the Denver Art Museum example, but probably the boldest use of color
(2006) has sharply angular forms, none of in a major building is on the Design Museum
which align neatly with any other (22.12). The Holon, Israel (2010), an ovoid that Ron Arad (b.
irregular spatial configuration appears visu- 1951) wrapped provocatively in vivid orange,
ally contrived, but was designed to manipulate red, and brown Corten steel (22.14).

22.12 (far left) Daniel
Libeskind, Denver Art
Museum extension, 2006.

In this Deconstructivist-style
addition to the 1971 Gio Ponti
design, gallery spaces are
defined by the jagged form
of the titanium-clad exterior.
The odd-shaped rooms provide
a varied viewing experience
congenial to modern artworks.

22.13 (left) UNStudio, Centre
for Virtual Engineering,
Stuttgart, Germany, 2012.

An interplay of curved and
rectilinear walls and ceilings
distinguishes a multi-functional
building housing offices and
laboratory space. The central
atrium is transected by
a staircase with color-coded
treads that signal the
approaching floors.

Design on a New Playing Field 451

bank building in downtown Los Angeles has
a grand center atrium with a zigzagging open
stairway and conference areas set off by bright
red carpet and lemon-yellow chairs (22.15).
For the J. Lindeberg clothing store in an 1899
building in Stockholm (2009), Albert France-
Lanord Architects created a model for a series
of concept boutiques, with 20-foot proscenium
windows, white floor and walls, metal fittings,
and occasional accents of vintage furniture.
Many new buildings suggest high-tech inspira-
tion in the extensive use of exposed structural
steel, treating building material as ornament.

BUILDING AND
INTERIOR TYPES

22.14 Ron Arad, Design High-tech Revisited In each of the style directions identified above,
Museum, Holon, Israel, 2010. architecture has traveled along two concurrent
A resurgence of interest in the industrial look paths: architecture as art form, in convention-
Five bands of vari-colored was a logical accompaniment to the restoration/ defying buildings that can be equally viewed
Corten steel sculpt the bold preservation movement; many buildings are (and experienced) as sculpture, and architec-
ovoid form, creating a distinc- being gutted or retrofitted for altogether differ- ture as socially responsible, in those where
tive landmark on a hilltop site. ent uses, frequently making decorative use of practical considerations take priority over aes-
Visible from every part of the bare windows, unfinished floors, exposed pipes thetics. The two paths rarely intersect. Both
interior, the bands serve as and beams, and ladder-like metal staircases. types of architecture can be seen in the cat-
wayfinders to define the space Such projects include offices as well as theat- egories of projects discussed below, although
and allow sunlight to stream in. ers, restaurants, and even luxury retail stores. the former, for obvious reasons, is more likely
International design firm Gensler’s corporate to prevail in cases where high visibility and
headquarters in a gutted and transformed 1970s

22.15 Gensler, corporate
headquarters, Los Angeles,
2011.

The glass-box, two-story shell
of a 1972 bank building made
high-tech modern with a grand
skylight, a perimeter-wrapping
mezzanine, and bold color
contrasts. Meeting rooms,
enclosed in different materials,
are cantilevered around the
atrium. The open layout fosters
collaboration, to suit contem-
porary workstyles.

452 Design on a New Playing Field

image are primary objectives. For understand- The result has been a surge in the con- 22.16 Santiago Calatrava,
able reasons, most of the designs cited in these struction of new museums by internationally Quadracci Pavilion, Milwaukee
pages are visually arresting, though their celebrated architects, designed in variegated Art Museum, 2001.
potential drawbacks will be duly noted. forms and utilizing many materials. Most are—
or at least attempt to be—cutting-edge. And The glass-enclosed reception
Museums many, but not all, are successful environments hall sits beneath a sweeping
for art as well as showplaces. Some fuse nature brise-soleil that can be raised
The Guggenheim Museum Bilbao became one and culture, with landscaped terraces or patios or lowered to control light
of the most influential designs of the new cen- that flow seamlessly into the galleries; some are and temperature.
tury, giving its name to a phenomenon called intimate retreats with the ambience of a sacred
“The Bilbao Effect”—the concept of museum as space; and still others are provocatively inven-
architectural showpiece, as well as (and some- tive, with specially commissioned site-specific
times more than) a place in which to house and artworks that create new kinds of connec-
exhibit art. Several earlier modern museum tions between architecture and art. Virtually
buildings were architecturally distinguished— all have elements of spectacle, increasingly
note Louis Kahn’s Kimbell Art Museum important in attracting younger audiences
(1972), I.M. Pei’s National Gallery East who are inclined to seek social and interactive
Wing (1978), and Renzo Piano’s Menil experiences in their engagement with exhib-
Collection (1987)—but appearance was always its. A recent example of this trend is Ennead
secondary to function, even for Rogers and Architects’ Natural History Museum of Utah,
Piano’s tradition-shattering Centre Pompidou Salt Lake City (2011).
(see p. 421). Following Gehry’s extraordinary
image-building success at Bilbao, however, the One of the most visually arresting of the
mandate to create a tourist attraction became new museums is Santiago Calatrava’s (b. 1951)
an essential part of the program for design- Quadracci Pavilion for the Milwaukee Art
ing almost any new museum. Bilbao set a new Museum (2001), whose soaring glass reception
standard by which to measure an institution’s hall is topped with a light-and-temperature-
success—the ability to attract visitors on the controlling brise-soleil, which has a 217-foot
basis of appearance alone. wingspan when open (22.16). Calatrava’s train-
ing as an engineer is reflected in the distinctive

Design on a New Playing Field 453

22.17 I.M. Pei, Museum a sequence of networked galleries (with sub-
of Islamic Art, Doha, stantially improved lighting) replicate the
Qatar, 2008. burlap-covered walls and individualistic
arrangement of the Barnes Gallery as its founder
In the five-story-high atrium, created it beginning in 1922.
a faceted dome evokes
historic Islamic structures. An For the Chichu Art Museum, built in 2004
oculus admits the desert sun, on the Japanese island of Naoshima, Tadao
reflecting patterns from the Ando submerged the structure as a series
coffering through perforated of interconnected underground galleries,
metal chandeliers onto the preserving the scenery and drawing natural
patterned marble floor. light downward; illumination of the artworks
varies according to the position of the sun.
sail-shaped forms seen in many of his designs. Ando has become known for his sensitive and
Zaha Hadid’s first project in America, the non-traditional approaches to solving the chal-
Rosenthal Center for Contemporary Art (2003), lenges posed by unusual sites. His notable
in Cincinnati, Ohio, is a jigsaw-like exterior of designs include the Pulitzer Foundation for the
block forms punctuated by clear and opaque Arts in St. Louis (2001), a concrete form that
glass, with light-filled interior galleries that recalls the overhang and surrounding walls
provide welcoming showcases for art. In Rome, of Wright’s Robie House, and the understated
Hadid’s MAXXI Museum delle Arti del XXI Modern Art Museum (2002) in Fort Worth,
Secolo (2010) is a bold concrete structure of Texas, whose refined forms and reflecting
intersecting oblong tubes, forming a network pool are a calm oasis that holds its own with
of white-walled galleries. Its biomorphic form neighbors Louis Kahn’s Kimbell and Philip
rejects the tradition of Rome’s classical archi- Johnson’s Amon Carter museums. A similar
tecture, though a projecting windowed section sensitivity to nature is seen in the landscape-
and outdoor patios engage the city around it. hugging design of the Crystal Bridges Museum
of American Art (2012), designed by Moshe
Some of the new museum buildings are Safdie (b. 1938) in Bentonville, Arkansas.
planned to accommodate specific require-
ments. I.M. Pei designed the Museum of One of the most important challenges facing
Islamic Art (2008) in Qatar as a bold white museums is the need to accommodate increas-
geometric form that suggests the simplicity ingly diverse art forms, a problem not faced by
of the ancient mosque, reflecting sensitivity to institutions whose original collections were
the culture it serves and the objects it shows formed around traditional paintings, sculp-
(22.17). With a different mandate, Tod Williams ture, and works on paper. Galleries may now
(b. 1943) and Billie Tsien (b. 1949) accommo- need to be able to accommodate giant sculp-
dated two contradictory needs in designing tures and constructions, film and video art,
elegant new quarters for the Barnes Foundation assemblages, sound installations, and different
Philadelphia (2012): the main space includes types of performance art. This has led to some
a soaring glass-roofed central court with ingenious solutions to create larger and more
views into the surrounding gardens and flex- flexible spaces. Yoshio Taniguchi’s (b. 1937)
ible modern classroom facilities; in contrast, redesign of New York’s Museum of Modern
Art (2004) centers on a four-story atrium (22.9),
viewed from the surrounding levels through
narrow windows. It has been criticized for its
institutional feel, but not for the non-intrusive
backgrounds it provides for artworks. Steven
Holl’s addition to the Nelson-Atkins Museum
of Art in Kansas City, Missouri (2007) meets
the challenge of a difficult site with two inter-
connected buildings whose forms play off the
landscape and the original neoclassical-style
museum. In Herzog & de Meuron’s conversion
of a disused power station into London’s Tate
Modern (2000), the cavernous central turbine

454 Design on a New Playing Field

hall became a flexible, industrial-style exhi- much-delayed September 11 Memorial Museum
bition space. The project drew international by Oslo-based Snøhetta and Davis Brody Bond.
acclaim, and adjacent oil-storage containers,
known as The Tanks, have since been con- Despite a recent winding-down of extrav-
verted into circular venues for special exhibits agant museum construction in the Western
or performance art. Other museum projects by world, major projects are in the works in the
the Swiss architects include the M. H. de building-boom locales of Dubai, Abu Dhabi,
Young Memorial Museum in San Francisco and Beijing. All were designed by major archi-
(2005), the Goya Museum in Zaragoza, Spain tects, and some may therefore become known
(2011), and the Miami Art Museum, Florida less for their artworks than for their impor-
(2013). tance as status symbols.

Along with the visual attractions have come Performing Arts
other amenities: museums have added award-
winning restaurants, and gift shops have The crescendo of building in opera halls, and
expanded to become important profit centers musical and theatrical venues is driven by the
that help fund major exhibitions. same impulses that have generated most new
museum projects: the wish to establish a cul-
The movement for preservation, combined tural identity and prestige for the locale, which
with the extravagant cost of new construc- is as likely to be a developing city as an estab-
tion, have led many institutions to retain lished metropolis. Just as museums face the
existing structures, updating them or adding need to accommodate new art forms, perform-
extensions equipped with interactive tech- ing-arts facilities must also adapt to suit new
nology, energy-efficient lighting, and flexible types of entertainment, from pop and elec-
exhibition galleries. Renzo Piano (b. 1937) has tronic music to film and video projection and
been designated architect for a number of the avant-garde dance. They must also accommo-
most high-profile additions, including the date the complexities of acoustics and lighting,
High Museum in Atlanta (2002), the Morgan which need to change for each type of event.
Library in New York (2006), the Art Institute And like museums, they face the challenge of
of Chicago (2006), the Los Angeles Museum attracting younger audiences who have differ-
of Contemporary Art (2008), and Kahn’s ent relationships to the performing arts.
Kimbell Art Museum in Fort Worth (2013). He
is also designing the new building for New Historically, most such projects have relied
York’s Whitney Museum, in the so-called on extensive government support, but where
“meatpacking district” downtown. Pritzker this is limited, especially in the United States,
Prize winner Rafael Moneo (b. 1937) designed local arts organizations and philanthropists
a thoughtful addition behind the 1785 neoclas- are assuming much of the burden—hence the
sical-style Prado in Madrid (2007) that not only naming of many buildings after major donors.
respected the original building but also incor-
porated the remnants of a seventeenth-century Performing-arts structures, whether called
monastery. Similarly, Berlin’s Museum Island opera halls or theaters, are now more flexible
buildings are being updated with a new than in the past, and are likely to be part of a
entrance building and judicious additions that family of related buildings. The presence of an
retain the historic structures. expansive cultural center, rather than just a
single-purpose hall, makes a political as well as
The most contentious museum-retrofit- a social statement about the importance of such
ting project in recent years was the Museum of facilities to the city or country involved, and
Arts and Design in New York (2008), for which also provides venues to attract international
Brad Cloepfil (b. 1956) and his Allied Works touring performers, which generates rental
Architecture transformed 2 Columbus Circle, fees as well as prestige.
a controversial Edward Durell Stone modern-
ist building from 1964, in a new cladding that Although the exteriors are planned for
obscured the original design and incensed maximum visual excitement, the design of
preservationists, despite the fact that the orig- the interiors of these structures, apart from
inal design had never been widely admired. dramatic entrance and lobby spaces, is deter-
Also destined to spark controversy, for politi- mined by function first and aesthetics second.
cal reasons more than aesthetic ones, is the The engineers and acoustical consultants who
ensure that the facilities perform as well as they

Design on a New Playing Field 455

22.18 Snøhetta, main lobby, look are as much to be credited as the interna- and performers and allowing for larger seat-
Opera House, Oslo, tionally celebrated architects responsible for ing capacity without placing patrons too far
Norway, 2008. the design. from the stage. The Cité de la Musique (1995),
Public spaces surrounding designed by Christian de Portzamparc (b. 1944)
the actual concert hall audito- Berlin’s Philharmonic Hall, designed by in Paris’s La Villette quarter, has an elliptical
rium make use of curving Hans Scharoun in 1963, is the prototype for hall with movable seats that can be rearranged
and complex elements charac- many of the new musical venues, where the in different configurations.
teristic of Frank Gehry’s work. traditional shoebox configuration is replaced
Computers have made possible by a vineyard arrangement, in which audi- The interiors of Frank Gehry’s Disney Hall
the translation of such concepts ence seating surrounds the stage area, creating (2003) echo the serpentine curves of the build-
into built reality. a more intimate interaction between audience ing’s exterior, but the concert hall itself,
suspended in the surround, is a warm enclosure
22.19 Snøhetta, Opera House, wrapped in Douglas fir, with the unusual inser-
Oslo, Norway, 2008. tion of a horizontal window at the rear to filter
The aluminum-clad, glass- in natural light. The seating curves around and
walled building merges into behind the performance area, which is neither
its site via a “carpet” of Italian elevated nor set apart by a proscenium, bringing
marble, varied in levels and the audience in close proximity to the players.
textures for visual interest, that The Concert Hall in Shenzhen, China (2012), was
slopes downward to the water. designed by Arata Isozaki with a gridded glass
roof that suggests an irregular spider-web, and
features an intimate interior with successively
elevated sections surrounding the musicians in
a polygonal plan.

Some of the most successful performing-arts
venues include public spaces that make culture
seem part of a community experience rather
than an elitist pursuit. Past examples include
the inviting steps accessing Utzon’s Sydney
Opera House. One of the most successful of the
more recent projects is the marble-and-gran-
ite-clad Opera House in Oslo, Norway (2008),
by Snøhetta (22.18, 22.19). Admired for its
acoustics and interior design, it drew even
more praise for its outdoor space. The build-
ing seems to emerge from the waterfront with
a carpet-like granite plaza, joining culture to
nature with an inviting gathering-place that
welcomes even those not attending concerts.
Snøhetta, the first Norwegian firm to gain
international stature, was first recognized for
the design of the Alexandria Library, Egypt, in
2002, and has since designed a new master plan
for Times Square in New York.

Some of the cultural sites incorporate
existing structures: Herzog & de Meuron’s
most anticipated recent project was the
long-delayed Elbe Philharmonic Hall in
Hamburg, Germany, a prow-like shape built of
masonry and glass atop a seventeenth-century
brick factory.

The new multi-building cultural cent-
ers are likely to include several performance
environments as well as libraries, research
centers, film houses, and dining facilities, and

456 Design on a New Playing Field

are often envisioned as a nucleus for develop-
ment, or redevelopment of the areas around
them. A prime example is Lincoln Center
(1962–68; see p. 409), which regenerated an
entire New York neighborhood. Its public
areas were redesigned by Diller Scofidio +
Renfro (2010) to be better integrated and more
inviting than in the original 1960s design.
Projects along these ambitious lines are seen
in developing cities with ample available land,
such as Guangzhou, China, where they are
conceived as symbols of growth and prosper-
ity. Even tiny locales like the Canary Islands
vie for international attention: Santiago
Calatrava was retained to design an Opera
House in Tenerife (2003), whose wave-like
concrete form was obviously intended to create
a landmark as much as a cultural venue.

Hotels

More than merely a comfortable home away buildings erected for other purposes. The 22.20 Piero Lissoni, Conserva-
from home, today’s hotel is expected to pro- advent of the boutique hotel has produced torium Hotel, Amsterdam,
vide a more extravagant experience—an venues targeted to specific market segments: Netherlands, 2012.
escape from the routine of everyday life in adventure travelers, sportspeople, nature
an environment that is often too esoteric or lovers, art collectors, or fitness enthusi- The masonry exterior of
exaggerated for anything other than asts. Many are in fringe neighborhoods; a nineteenth-century music
short-term occupancy. others in hard-to-reach locales that encour- conservatory was incorporated
age unconventional enclosures like jungle into a glass-walled atrium for
For much of the twentieth century, hotels tents or hillside huts. Often, their tiny rooms the lobby and restaurant of
tended to follow a standard formula in spatial may demand minimalist decor, but informa- a hotel in the city’s cultural
configuration, amenities, and color schemes. tion-age amenities like high-tech audio and center. Origami-shaped black
The most elegant were generally furnished telecommunications are—with rare excep- steel stairways and catwalks
in Beaux-Arts splendor and, though richly tions—essential components. punctuate the façade to link
accoutered, were rarely distinctive in the old and new.
design of their interiors. Hints of modern- Rockwell Group, a firm with crossover cre-
ism were few and far between. That changed dentials in hospitality and theater design,
in 1967, when architect–developer John conceived the W Paris Opera hotel (2012),
Portman built the Hyatt Regency Atlanta, fol- putting modern gestures into a Haussmann
lowed by the more refined Hyatt Regency building, including perforated stainless-
San Francisco (1973), introducing the steel walls through which LED lights flash
open atrium and glass elevator and changing colors. In Amsterdam, the
changing the concept of contemporary Netherlands, the Conservatorium Hotel (2012)
hotel design. was retrofitted from the site of a nineteenth-
century music school by Piero Lissoni (b. 1956)
Hotel designers have attracted a market of with a glass-enclosed atrium lobby outfitted
sophisticated and discriminating international with sleek modern Italian furnishings (22.20).
travelers by providing unique atmospheres At the other extreme, the Ciragan Palace
and diverse experiences, some evoking the in Istanbul, Turkey (2006), with interiors
ambience of the city or country, and others by Ezra Attia, is a conversion of a sultan’s
focused on a unique design expression. The castle into an ultra-luxurious hotel with
point, in every case, is to make a statement interiors combining Oriental exoticism
that distinguishes itself from the competi- with nineteenth-century style and cutting-
tion. In metropolitan areas, where real estate edge technology.
is usually in short supply, many are in reno-
vated existing facilities, or transformations of

Design on a New Playing Field 457

22.21 Patrick Norguet, Restaurants communicate the appropriate message. Rather
McDonald’s restaurant, than the Escoffier-style formality of classical
Villefranche-de-Lauragais, Well-designed interiors are a vital part of the cuisine, they project sophisticated ethnicity or
France, 2012. program for new restaurants, as dining out has “haute brasserie” style compatible with each
become a form of entertainment. Restaurants national cuisine and the creativity of the new
French branches of this fast- are chosen for ambience as well as cuisine, and gastronomy. Consumers accustomed to the
food franchise gain a new visual critics often review the design as well as the stimulations of social media and digital net-
identity, with an organic plan food. Prominent designers are often enlisted working look for lively experiences in dining
using birch plywood to create to build brand identities that project the con- out, something that formerly called for quiet
a variety of seating choices cept of the chef or proprietor, creating a style and intimacy. The result, in restaurants tar-
for different dining styles. experience as much as a gastronomic and geting a younger clientele, has been louder
social one. Interior designers can determine music, brighter colors, and a party mood that
every visual aspect of a restaurant, from décor is often a greater attraction than the food. Even
to seating configuration, tableware, graph- McDonald’s has become design-conscious,
ics, and menu—sometimes even to the plating hiring Patrick Norguet to style the interiors of
and presentation of the food—and will direct their restaurants in France (22.21).
the sound level and choice of music to create
the desired atmosphere. Adam Tihany (b. Healthcare Facilities
1948) is a specialist in this field; for the high-
altitude luxury restaurant At.mosphere in The growing world population and acceler-
the Burj Khalifa, Dubai (2010), he left some ated pace of urban development have created a
areas open to the vertigo-inducing views, and demand for more and better medical facilities.
others comfortably enclosed for a more shel- In major metropolitan areas, hospitals—many
tered experience. Bentel & Bentel, another firm with aging infrastructure—found themselves
known for restaurant design, was responsible competing for customers, and design became an
for the elegantly understated setting of Eleven important means of attracting patients with the
Madison Park in New York City (2000), as well option to choose where they would be treated.
as The Modern at the Museum of Modern Art. The result was a boom in construction of health-
care facilities, in developed nations as well as
In contrast to luxurious settings like this, underserved areas, worldwide. As of 2012, the
more informal venues are devoted to par- United States had more than 5,000 hospitals,
ticular cuisines—ethnicities like Greek, and their numbers—despite economic diffi-
Indian, or Spanish; categories like fish, bar- culties and rising medical costs—are likely to
becue, or fondue—with interiors designed to continue rising as the population grows and
ages. But the best of the new facilities look
nothing like the traditional forbidding venues.

The driving force propelling changes in the
design of healthcare facilities is evidence-based
design (EBD), an approach that began in the last
decade of the twentieth century and has grown
exponentially in the twenty-first. The idea of
using research data to influence the design pro-
cess was a radical one, embracing elements of
behavioral and environmental psychology and
even neuroscience. In the past several years,
however, it has been generally accepted by the
design community and applied most widely in
the field of healthcare, where the stakes—in
terms of potential outcome—are highest.

Evidence-based design was introduced
in the United States by the Center for Health
Design, established in 1993 by a nucleus of
healthcare and design professionals to advance
the then-novel idea that design could help

458 Design on a New Playing Field

improve the quality of patient care. A 2004 congested neighborhood with expanses of glass 22.22 (above left) Burger
analysis of scientific studies found that design and a light-infused central atrium. Window Grunstra, Martini Hospital,
was directly related to patient health and effec- walls face onto outdoor gardens, with a lami- Groningen, Netherlands, 2008.
tiveness of care; that it could make patients nated translucent pattern that provides privacy
more comfortable, encourage restful sleep, and and minimizes glare. Invitingly furnished blue In a facility keyed to modularity,
facilitate quicker recovery, while also offering and white “Wonder Rooms” are equipped for an artist-selected color scheme
benefits for hospital staff. Guidelines evolv- interactive play (22.23). is applied randomly throughout
ing from this evidence have produced hospitals the interior, unrelated to
that not only win design awards, but are also In addition to changes in healthcare facili- any specific room or function.
life-enhancing. Usually designed by large ties, there are changes in the way the medical The modular plan allows
architectural firms (Perkins & Will and HKS profession is being trained. The unconventional individual areas to change
are among the most prominent practitioners of form of Diller Scofidio + Renfro’s striking new functions as needed.
innovative healthcare design), many resemble design for Columbia University Medical Center
luxury hotels, with inviting entrances, grand in New York City, in collaboration with Gensler, 22.23 (above) Perkins & Wills,
lobbies, and specially commissioned artworks. reflects a new approach to medical education Miami Children’s Hospital,
But the design of the interiors is driven by seri- that focuses on collaboration and team-based Florida, 2012.
ous issues like patients’ need for privacy (single learning. The fourteen-story structure has an
rooms rather than shared ones), natural light, irregular stacked-up silhouette whose outer An award-winning example
outdoor views, soft carpeting, tactile surfaces, skin appears to have peeled away, glass walls of evidence-based design
and mood-enhancing colors. The healthcare revealing a “study cascade” that intersperses includes amenities proven to
industry has also focused on the special needs classrooms with communal spaces and high-tech improve patient outcome, like
of two groups: the young, and the aging, with areas for medical simulation, and is punctuated this colorful play space with
dedicated wings or entire hospitals. with wood-wrapped balcony enclosures. biomorphic walls and furniture.

One of the earliest hospitals in the United Offices
States to successfully apply evidence-based
design was Bronson Methodist Hospital in Office buildings are often fairly conservative
Kalamazoo, Michigan (2000), designed by in design, so as to avoid putting off conserva-
Boston architectural firm Shepley Bulfinch tive tenants. There are exceptions, notably
Richardson and Abbott. All rooms are private, landmarks such as Foster & Partners’ 30 St.
thousands of plantings bring an outdoor ambi- Mary Axe in London (2004), dubbed “the
ence to the space, and the facility has its own Gherkin,” for its greenish exterior and bullet
art collection. Perkins & Will’s design of the shape. Environmentally sound as well as visu-
Critical Care Bed Tower for Miami Children’s ally arresting, the triangulated exterior of the
Hospital (2012) is part of a densely concen- steel and glass structure is engineered to con-
trated campus, but minimizes the impact of the serve heat and maximize natural light. Foster’s

Design on a New Playing Field 459

Hearst Tower (22.26) is another notable depar- For businesses in the exploding service
ture, but the majority of new office buildings, sector, studies have shown that creativity
though varying in details and competing in thrives in a more relaxed atmosphere, and inte-
height, are sophisticated variations of direc- rior designers devise spaces with this in mind.
tions set by the International Style. To facilitate informal interaction between
colleagues, hallways may be interrupted by
Interiors, however, are another story. The alcoves, or clusters of workstations by oases
bland corporate style that once prevailed in of open space, to encourage impromptu meet-
office interiors is being replaced by visually ings with the informality of the city sidewalk.
stimulating and boldly unconventional designs, The most provocative interiors tend to be in
reflecting a technologically advanced culture high-tech and new media firms, whose young
and a more collaborative workstyle. Design is entrepreneurs respond to envelope-pushing
being used to define an organization’s culture, ideas. Facebook’s Palo Alto offices by Studio
establish its image, or support both, by such O+A (2009) take this approach, with lively
means as spatial configuration, color, graph- colors and an airy, informal layout (22.24).
ics, and even sound. Applying these tools, In the Pixar offices in Emeryville, California
designers can create offices as private spaces or (2001), for example, designers Bohlin Cywinski
communal ones, make work a solitary practice Jackson placed all bathrooms together in the
or an interactive pursuit, and design corporate central atrium, rather than in separate depart-
headquarters as showplaces for branding. Most ments, in order to foster chance encounters and
large offices are in tall modern buildings or pur- random conversations. Although offices such as
pose-built suburban campuses, but a growing these are equipped with the ultimate in commu-
number are in older structures whose interiors nications technology, face-to-face encounters
are creatively reconfigured into unique envi- remain a necessary part of human interaction.
ronments that make bold statements on behalf
of both the designers and the clients. Sustainability and green-building awareness
have motivated the inclusion of rock gardens,
The decades-old structured office landscape aquariums, and expansive interior plantings,
has morphed into a more expansive and flexi- along with, wherever possible, windowed or
ble facility, often on multiple levels traversed glass-roofed areas flooded with natural light.
by open staircases with light-flooded atriums; Other amenities are more unconventional, the
the stairs are a key design feature, and sensibly result of eroding boundaries between work and
encourage walking rather than taking eleva- home and the fact that, for many companies,
tors. Glass enclosures rather than opaque walls global business bypasses a nine-to-five work-
frame the few enclosed offices, and structural day. As a home away from home, the modern
elements like columns, beams, and ductwork office may be outfitted with recreational
become decorative ones.

22.24 Studio O+A, Facebook
offices, Palo Alto,
California, 2009.

A high-tech laboratory facility
was reconfigured as offices,
using recycled materials from
the original structure, and
retaining an unfinished look that
suits the company’s informal
workstyle. The open plan
creates “neighborhoods” with
furniture arrangements and
changing color schemes.

460 Design on a New Playing Field

facilities like gyms, ping-pong tables, basket- have altered the way people use the places they 22.25 (above left) Rosan
ball courts, and indoor skateboarding, or—as inhabit. Singles living alone, singles sharing Bosch, Lego development
Lego’s Copenhagen offices (Rosan Bosch Studio, space, multi-generational family groups, elderly offices, Copenhagen,
2010) boast—even a playground-like slide people remaining in their homes rather than in Denmark, 2010.
(22.25). facilities, computer-linked employees working
at both office and home, and those of all ages and A metal slide provides a focal
An enviable archetype for creative profes- occupations seeking a more ecologically sensi- point, and a quick means
sions was the Eames office in Venice, California tive way of life—all have specific requirements. of transport, in this open-
(the practice closed in the 1980s but the office Designers are creating new and often highly plan office with wraparound
itself was used until recently by Facebook), original environments to accommodate them. mezzanine and vari-colored
where walls could be rearranged as needed for meeting rooms. Block-like
either privacy or interaction. More recently, In cities, these environments range from display stands, model-building
in the gutted and reconfigured J. Walter lofts and glass-enclosed tower apartments, to tables, and a library of
Thompson advertising agency office in New gutted and reconfigured spaces in older struc- Lego pieces reflect the
York (2008), Clive Wilkinson updated the tures, rooftop additions, retrofitted office or playful mood.
firm’s staid corporate image to suit its tech-ori- factory buildings, schools, and even churches.
ented, youthful staff, eliminating private offices Wherever possible, larger windows, skylights, 22.26 (above) Norman Foster,
in an open space with floors linked by a tree- or sliding glass walls bring in fresh air and nat- Hearst Tower, New York,
like structure. A little more conventional are ural light, while access to the outdoors in the 2006.
Richard Meier’s offices for IMG in New York form of balconies, terraces, or roof gardens pro-
(2008), with layered spaces that, while rela- vides a link to nature compatible with the move The triangulated form of the
tively open, designate a corporate hierarchy. to greener design. In some of the most attention- 42-foot tower built atop Josef
demanding towers, the design of the interior is Urban’s 1928 Art Deco building
It should be noted that adventurous inno- almost beside the point; all eyes are drawn to the uses less steel than a con-
vations in the design of corporate interiors glass-walled surround and the almost limitless ventional frame and creates a
are rarely seen in professions like finance and views, creating a special challenge for interior distinctive faceted silhouette.
law, where the nature of the business calls for designers. In others, odd-shaped rooms—like The historic base becomes
greater privacy and a more serious demeanor. those in Gehry’s twisty 8 Spruce Street tower in a six-story lobby whose
In these, the interiors tend to look much as they New York (2011)—call for unconventional and key feature is a three-story
have for several decades. ingenious furniture arrangements. perpetual waterfall that uses
recycled rainwater. The LEED-
Residential Interiors In less densely populated areas, stand- certified building was the first
ard suburban housing and gated communities skyscraper built in New York
There is greater variety in the spaces in which are making room for sustainability-sensitive after September 11, 2001.
people make their homes than at any other time homes, some with their own micro-climates,
in history; both exteriors and interiors are being low-sited structures that merge with the land-
designed to respond to lifestyle changes that scape, architect-designed modulars, prefabs, or

Design on a New Playing Field 461

22.27 Dennis Gibbens, flat-packed houses, tiny houses, and others con- “smart house,” it will be possible to adjust
Residence, Venice, verted from disused or reclaimed construction lighting, change temperature, and manipulate
California, 2009. materials, and retrofitted shipping contain- the ambience as well as the mechanical work-
ers. In myriad shapes and sizes, they combine ings of the home with a single remote unit or
Built over a retail store, an familiar and unconventional materials to pro- the voice-activated controls available in auto-
airy duplex contrasts rough- vide unique living experiences. Shigeru Ban, mobiles, or through connection to a cell phone.
textured concrete walls with a pioneer in architecture using natural, sus-
refined finishes of tile, stone, tainable materials, devised an ingenious and Modern luxury apartments have gained
steel, and wood. Smooth practical solution to personal privacy in the cachet in glamorous new skyscrapers by high-
terrazzo floors underscore Shutter House (2009), a New York apartment profile architects. In New York City, Richard
a clean-lined mix of classic building with motorized shutters that can Meier’s glass-walled waterfront buildings
contemporary furnishings. be adjusted by each resident, resulting in an (2000 and 2002) were the first ultra-modern
The skylit space includes unpredictable and continually changing façade. residences in the city, though others fol-
a private courtyard and an lowed, many with loft-like open spaces that
open deck. Whether new or renovated, contemporary often replace conventional walled-off rooms.
residences, as with other building categories, Architecturally striking apartment houses
require designers to deal with the challenges of include the serpentine-façade Aqua Tower in
heat retention, energy efficiency, and maximum Chicago (2002), by Jeanne Gang—one of the
utilization of space, often in ingenious ways. relatively few high-profile female architects—
For the Horizontal Skyscraper in Shenzhen, with hotel below and apartments on the upper
China (2009), Steven Holl used bridge-build- floors, and Santiago Calatrava’s Turning Torso
ing technology to elevate a mixed-use building in Malmo, Sweden (2005), the spiraling form
on eight conic sections, in order to stay within of which was inspired by one of the architect’s
legal height limits—and also creating the sculptures. The unique layouts of the apart-
amenity of garden space at ground level. ments are dictated by their position in the
building, which rotates ninety degrees from
Despite concerns about conserving energy, bottom to top.
kitchens are usually equipped with modern
appliances and electronic gadgetry; bath- In the interior design of new residential
rooms are outfitted in keeping with an interest space, changing fashions no longer dictate
in health and fitness, and room is found, where choices in decorative schemes or furnishings.
possible, for exercise equipment. In an era Paralleling the freedom in architectural styles,
where technology is inevitably being inte- residential interiors do not align with any
grated into every aspect of life, the giant definable trend, and are rarely decorated in
flat-panel television is often the centerpiece of any single style. The best of them draw from
the main living area, and promises to assume myriad influences for an effect that might
even greater importance in the future, when be called “freestyle modern”—global style
many functions in the home will be manipu- replacing International Style.
lated by networked computers. In the ultimate
The inviting Santa Monica duplex of inte-
rior designer Dennis Gibbens (2006) was carved
out of the upper floors of a modest-sized com-
mercial building that still houses a retail store at
street level (22.27). Accessed by a gated entry
and private stairs, the patio opens through
glass doors into a dramatic two-story living/
dining/kitchen area that draws light through
skylights and porthole windows. Stairs to the
second level become a strong design motif, and
the furnishings mix contemporary pieces with
cutting-edge and ethnic accents.

Preserving the environment is a primary
concern of Lake Flato Architects, as seen in the
Desert House in Santa Fe, New Mexico (2006),
where individual pavilions are arranged
around a courtyard and the main living space is
a long open shed with roof overhangs to screen

462 Design on a New Playing Field

22.28 DP Architects, Dubai
Mall, 2008.

The world’s largest mall, 5.9
million square feet in size, is
part of the Burj Khalifa complex.
Its four levels house 1,200 retail
outlets as well as restaurants,
entertainments, and amenities
that include a waterfront
promenade, a spectacular
fountain, an aquarium,
and an ice rink.

the sun. Guest rooms are partially buried in the to draw customers away from their computers
ground, so as not to disturb the landscape or and into stores.
block the mountain views.
As the traditional department store is being
The classic luxury residence endures in pushed aside by specialty retailers, store inte-
buildings like 1 Hyde Park in London by riors are designed to target particular markets,
Richard Rogers, and 15 Central Park West in defined by age, economic status, occupation,
New York by Robert Stern, as well as apart- or leisure pursuit. With the exception of big-
ment towers in oil-rich Middle Eastern cities, box retailers (where interior design is rarely a
which, for status-seeking clients, are likelier to consideration), one-stop shopping is limited to
be designed with antique and art-filled interi- the shopping mall, whose interiors are gener-
ors than simple modern ones. ally modeled on the soaring glass surrounds of
London’s Crystal Palace or Paris’s Grand Palais.
Retail
Malls are not a new phenomenon; the first
The experience of shopping, once just a means fully enclosed, multi-level venue was the
of acquiring necessities, has been transformed Southdale Mall in Edina, Minnesota (1956), by
by a consumer society into a recreation, which Victor Gruen (1902–80). Ben Thompson (1918–
by its very nature demands an energizing sur- 2002) designed Faneuil Hall in Boston (1976)
round. Retail stores are now designed not only as a new type of open-air marketplace, recall-
to display merchandise, but to create an atmos- ing European venues like London’s Covent
phere in which the customer feels welcomed, Garden, and Water Tower Place in Chicago
entertained, and encouraged to buy—whether (2000) introduced the vertical urban mall in
it be food, furnishings, or fashion. a Michigan Avenue skyscraper. Since then,
malls have proliferated in both suburban and
In this highly competitive category, the metropolitan areas, some of them with palatial
design of a store interior is a major element in décor and generous add-ons. West Edmonton
the shopping experience, creating a happier Mall in Canada (1981) and Mall of America in
customer and ensuring return visits. For multi- Bloomington, Minnesota (1992), both designed
unit merchandisers or chain stores, it can create by the Triple Five Group, remain the largest in
brand identity by establishing an instantly rec- North America, with attractions like restau-
ognizable global prototype; such inducements rants, theaters, and entertainments including
have become critical in the era of online shop- a rollercoaster, on the assumption that visi-
ping, when merchandise alone is not enough tors who stay for recreation will also do more

Design on a New Playing Field 463

22.29 Peter Marino, Vuitton, shopping. The world’s largest and prob- hip customers, using nightclub-like interiors
London, England, 2010. ably most elaborate malls are in China and with dark walls and spotlights on clothing dis-
the Middle East: the Dubai Mall (22.28; 2008) plays, and high-decibel dance music; retail store
Rich materials and original boasts an indoor theme park and an aquarium, as lifestyle. Another lifestyle altogether is sug-
artworks create a glamorous and Mall of the Emirates (2005) by California- gested by the luxuriously appointed boutiques
surround for luxury goods. based F+A Architects has Moroccan arches and designed by Peter Marino (b. 1950) for high-
Typical of Marino’s upscale patterned carpets for regional ambience, with fashion firms such as Dior, Louis Vuitton, and
retail interiors, this New Bond amenities including an ice rink and an indoor Chanel. The Vuitton flagship in London (2010)
Street “maison” features golden ski slope. features a two-story-high wall of brass-framed
chain mail curtains, a wall glass showcases displaying the company’s leg-
of vintage luggage, walls of In specialty stores, interior design is dictated endary leather trunks, and a translucent glass
polished bamboo or silver- by the perceived taste of the intended customer: staircase with LED lights (22.29). The Hong
lacquered silk, and a glass generally more restrained, and often somewhat Kong location (2008) has a semi-transparent
staircase with LED lighting. traditional, for an older clientele, extroverted glass façade and two-story plasma video stair-
and cutting-edge for younger ones. The white- way with animated motifs that shift and change
box interiors of John Pawson’s design for the color beneath visitors’ feet.
Calvin Klein store in New York (2005) intro-
duced minimalism to upscale fashion retailing, Schools
displaying the clothing like artwork.
Technology has transformed the design pro-
For the Paris flagship of Japan’s mass-mar- cess for specialized educational facilities, which
ket Uniqlo stores, Masamichi Katayama and must accommodate the increasingly complex
his Wonderwall firm designed an interior with physical requirements of computers and com-
the company’s trademark high-tech look— munication equipment while serving their
walls of densely stacked, colorful shelves of primary functions as places for both communal
clothing balanced by airy open spaces—but and interactive education and for solitary study.
installed it as an intervention in a landmark
building. Katayama retained the original façade Evidence-based design, first implemented
of barred windows and a staircase that could in the healthcare field, is increasingly being
not be altered. Abercrombie & Fitch’s flagship applied in education, as scientific studies have
Fifth Avenue headquarters (2005) lures young, provided insight into how children learn.
Major universities are the sites of architectur-
ally distinctive, well-funded projects, but the
most innovative design, often on restricted
budgets, is seen in smaller-scale, and far less
costly, ventures for kindergartens and second-
ary schools, with local government and school
board sponsorship. This type of school facil-
ity rejects the archetypal, intimidating model
of sterile corridors, structured classrooms, and
formal lecture halls in favor of more inviting
and flexible environments where students are
comfortable, stimulated, and enthusiastic about
the learning experience—while also dealing
with concerns of health, safety, and sustaina-
bility. The schools are often planned to interact
with the surrounding neighborhood as well,
adding public access to encourage parent par-
ticipation and community events. They tend
to be more notable for function than for pho-
togenic exteriors, although some of the most
imaginative have been devised to meet the pre-
viously neglected needs of rural communities
in poor neighborhoods, or in developing areas
such as remote parts of Africa and India.

464 Design on a New Playing Field

In a high-crime area of South London, the com- Libraries 22.30 Rem Koolhaas, Seattle
fortingly enclosed structure of the Evelyn Grace Public Library, Seattle, 2004.
Academy by Zaha Hadid (2011) is relieved by More than mere repositories for books, librar-
a bright red sprinting track that intersects the ies depart from the traditional paradigm Eight layers of glass criss-
building, an Astroturf field, and a wildflower to offer advanced technology and innova- crossed with structural steel
garden. A rare example of a small school by a tive design; many have become landmarks of create a multifaceted form that
celebrated architect, it received the Stirling sophisticated architecture and interior design. counters conventional notions
Prize, an annual award honoring the best new Invariably ultra-modern in form and furnish- of library design, with light-
building designed or built in Britain. More ings, they make abundant use of lively color, flooded interiors for visitors and
typical is an elementary school in Kingsville, comfortable furniture, and attractive graph- contained storage for books
Texas (2010) by LaMarr Womack. Built on ics. Like all major design projects, they are and media facilities. Stacks are
the footprint of a 1950s school, the design was also concerned with environmental issues, arranged along a spiral ramp
inspired by a 1904 train depot, and includes com- employing recyclable materials and renewable rising through the center of
puter and science labs, a “cafetorium” with resources. In addition to printed books, they the building.
kitchen and stage, and a multipurpose play are equipped with computer stations with LCD
area. Reece High School in Tasmania, Australia screens and videocasting facilities, listening
(2003), as conceived by school-planning spe- areas for music, displays of artwork, and play
cialists Fielding Nair, replaced a building spaces for younger children. With anteced-
destroyed by fire with an award-winning one ents like Gunnar Asplund’s circular Stockholm
with state-of-the-art electronics, bold colors, Public Library (1928) and contemporary exam-
and spaces planned for project-based, collabo- ples like Norman Foster’s intervention of the
rative learning to engage students. atrium library and central court into the British
Museum (2001), libraries are transformed into
In urban areas, educational facilities are inviting environments for study and learning.
increasingly sustainability-conscious, and
designers are finding creative ways to make One of the most striking of the new gen-
these projects as beautiful as they are effi- eration of libraries is Det Kongelige Bibliotek
cient: Gensler’s clean-lined Graduate Center (fondly known as the Black Diamond) in
for the New York School of Interior Design Copenhagen, Denmark, designed in 1999 by
(2010) received design awards as well as LEED Schmidt Hammer Lassen: two cubes of black
Platinum certification. glass face the waterfront and tilt over the street,
with an interior that features an eight-story
Some of the most notable new schools atrium with wave-shaped walls and balconies
are architecturally innovative, such as the on every level. Another landmark, this one in
dramatic sculptural form of Cooper Union’s a central area of a city, is Rem Koolhaas’s Seattle
Academic Building (2009) in New York, Public Library (2004), a framework of glass
conceived by Thom Mayne (b. 1944), San
Francisco-based principal of Morphosis and
a co-founder of the innovative SCI-Arc archi-
tecture school. Mayne received the Pritzker
Prize in 2005. And Coop Himmelb(l)au, the
Vienna partnership of Helmut Swiczinsky,
Michael Holzer, and Wolf Prix, one of
the most original practitioners of deconstruc-
tivist-inspired architecture, was responsible
for the distinctive—and controversial—High
School for the Performing Arts (2007) in
Los Angeles.

To encourage the development of more
imaginative education facilities, the organiza-
tion Open Architecture Network stages design
competitions and posts the winning concepts
online. Although few of these may ever be
realized, they nevertheless stimulate innova-
tive thinking in an area where design can have
life-altering benefits.

Design on a New Playing Field 465

Los Angeles (2011) by Johnson Favaro is a low
horizontal counterpoint to the primary hues
of César Pelli’s glass-wrapped Pacific Design
Center buildings, and incorporates a children’s
theater, closed-circuit television, a coffee bar,
and its own parking facilities, as well as design
attractions like a sweeping staircase and sculp-
tured ceilings. On a far more modest scale, the
natural landscape of a mountainside village in
China inspired the wood-enclosed framework
and inviting platform seating of the Liyuan
library by Li Xiaodong Atelier (22.31; 2011).

Despite their warm reception from
the communities that house them, librar-
ies are not immune to controversy: Future
Systems’ competition-winning design for
the National Library of the Czech Republic
in Prague, in the planning stage at this writ-
ing, is a unique organic form that blends into
the hilly landscape, suggesting either a whim-
sical attraction or a jellyfish-like blob; it has
generated both enthusiastic support and avid
criticism.

22.31 Li Xiaodong, Liyuan and steel that smashes the conventional idea of Houses of Worship
Library, China, 2012. libraries as dimly lit retreats (22.30). Its irreg-
ular glass-and-steel exterior is flooded with Sacred spaces, intended as evocative sym-
A modest single-story light, and the interiors are traversed by vivid bols of a higher purpose, have historically
structure is framed in wood, yellow escalators, along with other colorful been designed in prescribed forms dictated
with stepped platforms that accents. It was enthusiastically received by an by each particular denomination. Such con-
create both shelving and avid population of readers as well as by archi- ventions are eroding: in place of the familiar
seating space. The exterior tectural critics. The West Hollywood Library in Gothic cathedral or conventional Shinto shrine
is covered with sticks are extraordinary new buildings that merge
of firewood, under
a glazed shell.

22.32 Rafael Moneo,
Our Lady of the
Angels Cathedral,
Los Angeles, 2002.

The central space of the
world’s third largest cathedral
has a limestone floor, a cedar
ceiling, and polished concrete
walls hung with modern
tapestries. Windows are
translucent alabaster and
the bronze chandeliers
contain loudspeakers for
the sound system.

466 Design on a New Playing Field

visionary design with respect for tradition. Moynihan Station in New York, James 22.33 Pelli Clarke Pelli
They elicit strong emotional responses with Carpenter has proposed using light to transform Architects, rendering of
commanding and often awe-inspiring inte- the historic Farley Post Office Building, a classi- Transbay Transit Center,
riors that nevertheless retain the mood of cal landmark, into a modern transit center with San Francisco City,
spirituality and calm that is appropriate for a monumental glass barrel-vault recalling Penn completion 2017.
places of worship. Station’s much-mourned glass ceiling.
Transbay Transit Center,
Landmarks in the innovative design of reli- More recently, however, demands on opening in 2017, will be a
gious buildings included the Temppeliaukio public transportation systems have created state-of-the-art multimodal
Church (Rock Church, 1969) in Helsinki, a need for new structures, with some excep- transit station in downtown
Finland, by brothers Timo and Tuomo tional results. Morphosis designed a new Los San Francisco, linking
Suomalainen; Eliel and Eero Saarinen’s Angeles landmark for Caltrans District Seven 11 transit systems and
churches in Columbus, Indiana (see p. 388); (2005). The futuristic building, with an inno- connecting the city to
and Tadao Ando’s Church of the Light vative skin of aluminum panels and one side the region, the state, and
(see p. 435). More recently, major architects surfaced with photovoltaic cells, is a striking the nation. The light-filled
have produced award-winning religious build- companion to the neighboring Moneo cathe- structure is supported on
ings that also enhance the identities of the dral and nearby Disney Hall. In San Francisco, angled steel columns.
religious groups commissioning them. In Los a major development project is keyed to a new
Angeles, California, Rafael Moneo designed Transbay Terminal by Pelli Clarke Pelli (22.33),
the Cathedral of Our Lady of the Angels (2002) to be financed by rental income from several
with an imposing, almost brutalist, adobe exte- surrounding skyscrapers. Santiago Calatrava’s
rior that contrasts with the serenity of the soaring design for the PATH terminal in New
interior (22.32). Monumental sculpted bronze York (2013) promises to be more visually excit-
doors open onto a long ambulatory that tran- ing than any structure on the adjacent World
sitions to the awe-inspiring nave, which seats Trade Center site, despite its scaling-down due
3,000 worshipers in a tapestried surround of to security and budget constraints.
polished concrete, limestone, and cedar, with
windows of translucent alabaster. For the usu- New airport facilities have become criti-
ally tradition-bound Vatican, Richard Meier’s cal as air travel expands beyond the capacity
Jubilee Church in Rome (2003) is a bold modern of current ones, where runways cannot always
statement consisting of three tall curving accommodate new jumbo aircraft and technol-
shell-like forms of the architect’s trademark ogy is becoming outdated. Rockwell Group
white concrete, and an interior flooded with designed interiors for Jet Blue’s terminal at
light from glass panels set between the shells. New York’s JFK Airport (2008), built along-
On the other hand, the recent renovation of side Eero Saarinen’s iconic TWA terminal (see
Philip Johnson’s attention-getting 1980 Crystal p. 404), with exposed steel and industrial ele-
Cathedral in Garden Grove, California, into a ments that are relieved by customer-friendly
Roman Catholic house of worship shows that
a contemporary sacred space can comfortably
embrace more than one faith.

Transportation

After the destruction of New York’s
Pennsylvania Station, transportation design
was focused primarily on preserving, renovat-
ing, and updating existing facilities, like Grand
Central Station, rather than building new ones.
Recent old-into-new projects include St. Pancras
in London, where retail and restaurant facili-
ties were inserted into the historic structure
without infringing on the original architecture.
St. Pancras’s Barlow Shed, the world’s largest
enclosed station covering, was simply cleaned
and repainted (2006). For the long-delayed

Design on a New Playing Field 467

22.34 Kohn Pedersen features like bright color, ample natural light, Park City in New York), the idea of combining
Fox, rendering for building and curving walls that facilitate wayfinding. offices with residential space in a single build-
in Yongsan International To ease the pain of long waits between flights, ing is relatively recent—the result of urban
Business District, Seoul, a central marketplace area is enlivened with density, redevelopment of downtown areas,
Korea, scheduled grandstand seating and a performance area as and the intrusion of residential space into
completion 2016. well as food service facilities. Gensler (with commercial neighborhoods: nobody wants a
Heerim-Mooyoung-Gensler-Yungdo) designed luxury apartment on a low floor, overlooking
This ambitious development, a new terminal, scheduled for 2017 comple- business traffic.
with a master plan by tion, at Incheon International Airport, Korea,
Daniel Libeskind and considered the best-functioning in the world, Probably the best known, though most
skyscrapers by 19 high- that will incorporate all the most advanced problematic, of such projects has been the
profile architects, will be an technology for aircraft control and passenger World Trade Center in New York, which will
urban center incorporating convenience—hopefully a sign of things to include most of the above elements with the
international business, living, come for other overloaded facilities. exception of residential space. Political and
entertainment, and social issues led to contentious disagreements
shopping facilities. Mixed-use Developments about aspects of Daniel Libeskind’s master plan,
resulting in design compromises that altered the
The most ambitious type of design project is original concept—which was not universally
the mixed-use development—at its smallest a admired. The result, despite including projects
handful of buildings, at its largest a campus- by major architects such as SOM, Fumihiko
like environment on multiple acres—either on Maki, and Snøhetta, will be a mix of unrelated
land that has been cleared for urban renewal, and, in several cases, unremarkable buildings.
or on open space in developing cities. A single
architectural firm generally designs a master The greatest number of large mixed-
plan, and the buildings themselves are com- use projects have been planned for East
missioned individually, though are directed Asia, the most ambitious being one in Seoul,
to conform to the overall guidelines. The typi- Korea. The Yeongsan International Business
cal such project incorporates structures with District, covering 32 million square feet, with
commercial, residential, hospitality, and enter- a masterplan designed by Libeskind, will
tainment facilities, interspersed with open transform ten blocks in the center of the city.
plazas or landscaped gardens, with provisions A series of high-rise structures have been
for parking (usually below ground) as well designed by architecture luminaries including
as links to public transportation. Although Libeskind, Renzo Piano, Coop Himmelb(l)au,
some of these elements have been combined in Kenzo Tange, Kohn Pedersen Fox, and SOM.
the past (e.g., Rockefeller Center and Battery Equipped with a network of underground
passages and sunken gardens, the project is
scheduled for completion in 2024 (22.34).

No matter how superbly executed, these
vast developments often have little connection
to the areas around them, and lack the appeal-
ing mixture of old and new that distinguishes
our most admired cities; the qualities that make
for different experiences in visiting, for exam-
ple, London, Paris, or Rome. If well planned,
however, they may be the solution for expand-
ing facilities in an overpopulated planet with
fast-depleting resources.

On a more modest scale, but with a utopian
vision for planning future cities, is a billion-
dollar development adjacent to Hobbs, New
Mexico. Called City Lab and designed as a test-
ing ground for the integration of advanced
wireless infrastructure, alternative power
sources, and transportation systems such as
driverless cars, it will have capacity for 35,000
people. It will remain entirely unpopulated.

468 Design on a New Playing Field

22.35 Ron Arad, “No
Discipline” exhibition,
Museum of Modern Art,
New York City, 2009.

The striking installation
featured an undulating
backdrop and metal-framed
shelving that echoed the
materials and forms of the
designer’s celebrated chairs.

FURNITURE AND FURNISHINGS generated a culture of design collectors as well 22.36 Nendo, Cabbage
as mass-market adaptations. Marc Newson Chair, repurposed pleated
The most significant change in furniture (b. 1963) originally designed the aluminum- paper and resin, 2009.
design has been the introduction of a new cat- surfaced Lockheed Lounge in 1988 (see p. 437),
egory: design/art. In the gradual erosion of but one of the edition set a record in 2009 for In a chair made without
barriers between form and function, this fur- the highest price paid for a piece of twentieth- supporting structural
niture represents concept, visual expression, century furniture (reportedly $2 million), and foundation, pleated fabric is
or exploration of materials and technology. It works by Ron Arad in polished steel or engi- wrapped like a roll of paper
goes far beyond objects merely to sit on, store neered plastic achieve six-figure prices. Other towels; the layers are peeled
in, or eat off, and has generated considerable leading names in design/art include Japanese away by the user to shape
media coverage as well as cachet for a category Oki Sato (Nendo), whose highly original the desired seating form.
once taken for granted as purely function- designs include the whimsical Cabbage Chair
driven—cachet that results in exposure like (22.36); Americans Philip Michael Wolfson and 22.37 Patrick Jouin, C2
“No Discipline,” the 2009 retrospective exhi- Wendell Castle (a wood sculptor–craftsman chair, epoxy resin, 2004.
bition of Ron Arad designs at the Museum of who has moved into art furniture); Frenchman
Modern Art (22.35). Patrick Jouin, who explores new technology Made with rapid prototyping
(22.37); Britons Ross Lovegrove (22.38) and and stereo-lithography, the
Comparable to couture clothing, these Amanda Levete (Future Systems); the Swedish skeletal form is drawn on
limited-edition works have brought interna- group Front Design; Dutchman Joris Laarman, a computer, then digitally
tional celebrity to many of their creators and sliced and built by machine
in layers. The intricate design
would be impossible to
achieve by any other method.

22.38 Ross Lovegrove,
Go Chair, powder-coated
magnesium, 1998–2001.

Using computerized design
and technology, this
exceptionally lightweight,
ergonomically designed
chair was the one of the
first of its genre made for
mass production.

Design on a New Playing Field 469

and Brazilian brothers Humberto and Fernando technologies are used to add special fea-
Campana. These and others form an interna- tures: pattern can be added with 3D printing;
tional roster of original and creative thinkers, seating can shape to the occupant or adjust
abandoning the restraints of traditional form temperature according to that of the body;
and practice. The most unusual of the new fur- robotics make possible objects that perform
niture pieces are made in limited numbers, but minor tasks.
designers like Konstantin Grcic and Patricia
Urquiola have also designed provocative forms Marketed along with more conventional
for quantity production. furniture are minimalist silhouettes warmed
with color, gloss, or textured detailing, soft-
Much of the design innovation that began edge forms that are a relief from stressful
toward the end of the twentieth century was times, eco-friendly objects of recycled or dis-
generated at the Design Academy Eindhoven used materials that range from cardboard
in the Netherlands, whose curriculum encour- tubes and fabric fragments to soda bottles or
aged experimentation rather than conventional vinyl records. Countless variations of stack-
design. The academy has produced the collec- able chairs, tables that fold or stack, and other
tive Droog Design and the celebrated designers lightweight, portable furniture is considerate
Marcel Wanders (whose Crochet chair trans- of space-shy residences. Humor has its place as
lates a handcraft motif in modern materials), well, in pieces that add whimsy to function.
Maarten Baas, Tord Boontje, Hella Jongerius,
Jurgen Bey, and Studio Job partners Job Furniture for the office has undergone less
Smeets and Nynke Tynagel. provocative change, though each season brings
new developments in chairs that adjust to
New furniture is introduced primarily at accommodate different bodies and proportions.
major international fairs, such as Milan’s Salone Modularity is a matter of course in workstations
Internazionale del Mobile (begun in 1961), the and storage systems, although the conven-
premier showcase for new design that grew out tional desk with drawers is being superseded
of an exhibition for Italian furniture, and the by equipment designed for the paperless, elec-
Cologne Fair, which dates to 1949. Most of the tronically equipped office. Many seating pieces
new art-furniture, however, debuts at Design designed for offices can comfortably cross over
Miami, which began in Miami in 2001 and takes into the home, and the reverse is also true.
place there in December, and its sister show
Design Miami/Basel, which takes place in Basel, In textiles, advances in both fibers and
Switzerland, in June in conjunction with the weaving techniques include woven plastics
prestigious Art Basel fair. Other fairs in Paris, and metals, digitally printed wallpapers with
London, and New York vie to draw attention dimensional effects, crushed rice-paper dra-
to themselves and the designs they showcase. pery, and fibers of recycled packaging, bottles,
These and heavily promoted awards in several or discarded materials.
countries have elevated the profiles of furniture
designers, with a favorable trickle-down effect Lighting is perhaps the source of the most
that has helped to push the design envelope at dramatic innovations, with LED and OLED
all levels of the market. allowing not only longer life but increased flex-
ibility in form and installation. These are being
The newest furniture is as varied as nature used in existing forms of lamps and chandeliers
and the imagination allow, since the computer or in innovative installations that can restructure
has enabled furniture designers, as it has archi- interior space and adapt or entirely change the
tects, to explore forms that could not be made atmosphere to suit the mood or the occasion. The
otherwise. In the manner of laboratory scien- future holds even more promising developments,
tists, they experiment with recently developed including large light panels that can create glow-
materials, manufacturing technologies, and ing walls in place of separate elements. New
finishes from the automobile and aircraft methodology is being explored to enhance the
industries. Furniture design has adopted rapid experience of an interior with changing colors
prototyping, which can be used for actual fab- and modulating light levels, while still providing
rication of objects (in architecture it can only significant savings in energy. For decorative pur-
make models), and motion-capture, which poses as well as function, ingenious and witty
translates a design gestured in the air into new lighting designs are virtual art objects; Ingo
a three-dimensional computer model. Other Maurer is perhaps the best-known designer spe-
cializing in this area.

470 Design on a New Playing Field

In addition to creating environments using INTERIOR DESIGN
new forms of furniture, interior designers draw
freely from the relatively recent past, reviving The new paradigm of the interior designer is
Midcentury Modern as it became a half-cen- no longer the decorator who simply chooses
tury old, and moving on to embrace a broader fabrics and arranges furniture. In fact, the
span of twentieth-century design. Not only latter term is gradually falling out of use, with
Eames, Nelson, and Noguchi, but Vladimir increased efforts to establish standards that
Kagan, Paul Evans, Philip and Kelvin Laverne elevate the status of interior designers to that
and others are being used along with cutting- awarded other professions, such as architec-
edge designs, often mixing in antiques and ture and engineering. Interior designers have
handcrafted objects. Manufacturers like Knoll, evolved into multitalented and respected pro-
Herman Miller, and Capellini are reissuing con- fessionals who can plan intricate configurations
temporary classics along with Bauhaus basics. and reconfigurations of interior space, deter-
In the most elite circles, elegant Art Deco mine lighting requirements, coordinate various
designs by Emile-Jacques Ruhlmann, Jean construction trades and workrooms, choose
Royère, and their contemporaries, and mid- accessories, and plan rooms that are not only
century works by Charlotte Perriand and Jean aesthetically appealing but life-enhancing.
Prouvé are the most admired and most pres-
tige-generating furnishings. Shelton Mindel, the partnership of archi-
tects Peter Shelton (1951–2012) and Lee Mindel
A corollary to these revivals is a growing (b. 1953), have been among the most skilled
interest in crafts and handmade objects, an practitioners of the kind of sophisticated resi-
effort to counterbalance the mostly machine- dential interior design that characterizes the
made elements of new buildings and interiors. twenty-first-century approach to modern-
This refers not only to crafted furnishings— ism; with an appreciation of diverse style
much of the new design/art furniture can fit influences. A New York apartment with wrap-
into this category—but unfinished floors, tex- around windows (2010) is a mainly neutral
tured walls, and natural fabrics. Compatible composition with white lacquered walls con-
with the search for sustainability and the trasted with warm wood paneling and exposed
greening of design, the desire for objects with concrete columns (22.39).
the touch of the hand echoes the Arts & Crafts
ideals of John Ruskin and William Morris. For design practice as well as style direc-
tions, the options have expanded considerably.

22.39 Shelton Mindel,
penthouse apartment,
New York City, 2010.

A modern interpretation
of luxury translates into an
interior with floor-to-ceiling
windows, wood floors and
paneled walls, and a mix
of furniture that combines
cutting-edge contemporary
with midcentury and
Scandinavian classics.

Design on a New Playing Field 471

Designers often choose to specialize in a partic- One thing is clear: the twenty-first will be a
ular type of interior—residences, offices, hotels century like no other in history. The inexora-
and restaurants, schools, recreational facili- ble expansion of the earth’s population and the
ties, theater, and so on. Some are focused on a equally inexorable depletion of its resources in
style direction: designers like David Easton, the face of climate change, the transformative
Geoffrey Bradfield, and the late Albert Hadley effects of technology, and the intermingling of
are celebrated for refined traditional interi- nations and cultures will all continue to affect
ors, while others such as Juan Montoya, Jamie interior design.
Drake, Clodagh and Mariette Himes Gomez are
thought of as modernists. Creating still more We can be sure that design will not move
specialization are areas like kitchens and baths, along a single path, as was the case in past eras.
children’s rooms, gyms, and home entertain- The time we live in will not be easily classified
ment. Add to that the challenges of an aging by a single period name, identifiable style, or
population, green design, and the require- trend. The century promises to continue as it
ments of electronics and computer equipment, began—with eroding barriers, broadening
and interior design has become a more wide- vistas, greater variety, and limitless options.
ranging and complex profession than ever in its We can look forward to a continuing interac-
history. This is reflected in the establishment of tion between design and technology, design
licensing and practice-act legislation, which is and art, design and public welfare, design and
certifying professional designers to distinguish communication, even design and politics.
them from decorators without appropriate edu-
cation or apprenticeship training. The move to ecologically responsible and
socially responsible design that began in the
The contemporary approach to interior last century has taken hold, as architects and
design often rejects the ninety-degree-angle designers begin to accept a moral imperative to
floor-wall-ceiling configuration in favor of consider not only the needs of society’s elite,
more imaginative divisions. Architecturally but also those sectors it once overlooked. As
oriented practitioners may plan a space with perhaps the most intensely personal of prac-
intersecting volumes joined by staircases and tices, interior design promises to become even
angular or movable wall sections. More wide- more closely connected to every aspect of life.
spread use of glass on ceilings, as well as large
expanses of walls, flood rooms with natural Advances in technology and communica-
light, erasing the usual barriers between exte- tion will continue to change the way design is
rior and interior. Where natural light is not conceived and executed, and designers will be
available, new energy-efficient artificial light compelled to keep up with each new develop-
can reproduce its hues almost perfectly. ment as it occurs. These changes are likely to
affect the manner in which designs are imple-
There remains in the public mind a ten- mented more than the way they look, but there
dency to think of most interior designers as will be improvements in efficiency, cost, and
women (and architects as men), as is actu- sustainability. We cannot predict what the
ally the case in the United States. However, interiors of the next century will look like, but
the gender bias is gradually eroding, and in they will surely change in order to accommo-
many other countries the professions are not date differences in both facilities and lifestyles.
separate. Interior designers and architects
are increasingly collaborating on complex As architects conceive buildings that
projects, and since the last decades of the twen- enclose us in visually stimulating and flawlessly
tieth century almost every major architectural functional environments, interior designers
firm has had an interior design department. will be increasingly challenged to create for-
ward-looking work environments, alternative
LOOKING FORWARD living spaces, and imaginative areas for recrea-
tion and entertainment. They will employ the
When historians look back on this century, it best of new materials and processes in unpre-
is impossible to imagine how they will view it. dictable and unconventional ways. They will
Those of us living through it are too close to yet move in the global marketplace, and respond
make judgments. to changing consumer culture as well as influ-
encing it. They will, it is hoped, continue to
surprise, enchant, and excite us, enhance expe-
rience, and contribute to the betterment of life.

Glossary

Guide to Pronunciation andron A vestibule parlor near the ball and claw foot A decorative ele- Biedermeier A German 19th-century
entrance of an ancient Greek house. ment at the bottom of a furniture style of furniture, combining Neo-
Pronunciation guides for selected terms leg in which a carved claw grasps a classical and provincial elements.
appear in parentheses. Strongly stressed apse (aps) The semicircular end of a spherical ball element.
syllables are shown in large-size capital basilica or church chancel. bilateral symmetry Design using ele-
letters; lightly stressed syllables are ball foot A decorative element of ments in two symmetrically placed
shown in small-size capital letters. Most aqueduct A bridge structure support- spherical form at the bottom of a fur- locations.
of the symbols, which use ordinary let- ing a water channel. niture leg.
ters or combinations of letters, should blockfront Furniture unit with a
be self-explanatory. The following may arabesque (ar-uh-BESK) A light and baluster (BAL-uh-stuhr) A post or three-part front, projecting on either
need clarification: flowing surface decoration. column supporting a handrail. side and recessed in the center; a
popular type with 18th-century
a cat arcade A series of adjacent arches. Baroque The architectural and design American (especially New England)
ah father, clock arch A structure of wedge-shaped style developing from the latter cabinet makers.
ay date, play phase of the Renaissance. Spaces of
dh that, mother blocks bridging over an opening. complex form with elaborate decora- bombé (bahm-BAY, bawn-) French
e net, berry architrave (AHR-ki-trayv) The tive detail are typical. term for furniture using outward-
i it, big swelling curves.
igh ice, light lowest horizontal band of an entab- barrel vault A masonry vault of semi-
kh Bach lature. circular form. Also called a tunnel boulle (bool) Metal and tortoise-shell
n French bon (shows that the vowel archivolt (AHR-ki-vohlt) A molding vault. inlay work as developed in France by
on the face of an arch following its Charles Boulle.
is nasalized) curve. barrow An ancient tomb in the form of
ng think, sing armoire (ahrm-WAHR) A movable an artificial hill. box (finger) joint Wood joint with
oe French deux, German wardrobe cabinet with door front. interlocking projecting teeth.
arris (AR-is) The sharp edge formed basilica (buh-SIL-i-kuh) Originally,
schön where two surfaces meet. an ancient Roman courthouse of a breakfront desk A furniture unit
oh open, cold Art Deco (ahr(t)-DAY-koh, -DEK- type that became a Christian church, made up of an upper bookcase with a
ou sound, cow oh) A decorative style of the 1920s having a high central nave with projecting desk below.
u put, book and 1930s using elements intended lower aisles on either side.
ue French rue, German über to suggest modern technological broken pediment A pediment with a
uh cup, about, bird, paper developments. bas-relief (BAH-ri-leef) Sculptural central opening.
zh measure, beige Art Nouveau (ahr(t)-noo-VOH) A late carving of a flat surface in low relief.
19th-century stylistic development brownstone Soft brown sandstone.
abacus The topmost block of a Greek using flowing curves and nature- batter Inward slope of a vertical wall Also, buildings of this material.
Doric column capital. inspired elements to replace historic surface.
decorative elements. brutalism (or new brutalism) Modern
acanthus An ornamental leaf element Arts and Crafts An aesthetic move- Bauhaus (BOU-hous) A German architectural style using massive ele-
surrounding the capital of a Corin- ment of the latter half of the 19th school of art and design of 1919 to ments, usually of exposed concrete.
thian column. century in England, led by the teach- 1932. Under the direction of Walter
ing of William Morris. Gropius the school was strongly bureau à cylindre (bue-roh-ah-see-
Adirondack style (ad-uh-RAHN- ashlar (ASH-luhr) Building stone cut in influential in the development of LAn-druh) Writing desk with
dak) Interior and furniture style regular rectangular blocks; walling modernism in all aspects of design. cylindrical roll-top closure.
developed in the American Adiron- made up of such blocks.
dack mountains using astragal (AS-truh-guhl) A small con- bay A unit of a structural system using burl Decorative veneer made from
rough tree branches. cave molding, often ornamented repeated identical elements. wood with irregular growth pat-
with carved beads. terns.
adobe (uh-DOH-bee) Brick made asymmetry Avoidance of symmetrical bay window A projecting window
of dried earth and straw. Also struc- balance. element. buttress A element of masonry struc-
tures built of this material. atrium (AY-tree-uhm) In ancient ture providing bracing or support.
Roman architecture, the central open bead and reel A carved ornamental (See also flying buttress.)
adze A heavy chisel-like long-handled courtyard of a house. By extension, treatment using alternating elements
tool. any central open space. of semi-spherical and semi-cylindri- cabriole (KAB-ree-ohl) A curving,
attic The upper story of a building; cal form. tapered furniture leg.
Aesthetic movement 19th-century interior space beneath a roof.
British art and design movement. aubusson (oh-bue-SAWn, OH-buh- beam A horizontal element providing caldarium (kal-DER-ee-uhm) Chamber
sahn) A handmade French rug or structural support. of ancient Roman bath for hot steam
agora (AG-uh-ruh) The open market carpet with a flat weave. bath.
square of an ancient Greek city. Axminster (AKS-min-stuhr) A tradi- Beaux-Arts (boh-ZAHR) An architec-
tional carpet construction using a cut tural style developed at the French canapé (KAN-uh-pay) French term for
aisle A passage at the side of the nave pile of wool in a wide variety of pat- school of art and design in Paris, the a couch or sofa.
of a church. tern and color. Ecole des Beaux-Arts.
cantilever (KAN-tuh-lee-vuhr) A
alignment Prehistoric arrangements baldacchino (bahl-duh-KEE-noh, bentwood A technique of form- horizontal projecting beam or other
of large stones in straight lines. bal-) A canopy supported by ing strips of wood into curves by structure supported only at its
columns, usually above an altar or applying steam heat and placing the inward end.
ambulatory (AM-byuh-luh-tawr- tomb. softened wood on molds. Furniture
ee) A passage around the sides and made by this technique is designated Cape Cod cottage A much-imitated
rear of the chancel of a church. as bentwood. colonial American house-type of one
story, with a gable roof.
andiron (AN-digh-uhrn) One of a pair bergère (ber-ZHER) A low upholstered
of metal stands used to support logs armchair developed and used in capital The top element of a classical
in an open fireplace. France. column.

beton brut (bay-tawn-BRUET) The Carlton House desk An 18th-century
French term for exposed reinforced English writing table with small
concrete. drawers and compartments lining
the back and sides of the writing
surface.

472

Glossary 473

Carolean (kar-uh-LEE-uhn) The Eng- colonnade A series of columns. Directoire (dee-rek-TWAHR) French Empire A period of French Neoclassi-
lish style of the time of Charles II. commode A piece of furniture con- design of the post-revolutionary cal design corresponding to the reign
period (1795–1804) emphasizing of Napoleon (1804–14).
Carolingian (kar-uh-LIN-j(ee) taining drawers or shelves. ancient Roman decorative elements.
uhn) The Romanesque style of compression A force tending to entablature (in-TAB-luh-chuhr,
France and Germany from 750 to di sotto in sù (dee-SAWT-taw-in- -choor) The horizontal band sup-
1000 c.e. squeeze or compress materials to SOO) Ceiling painting in perspective ported by the columns of classical
which it applies stress. with upward-looking illusion. architectural orders. It is made up of
Carpenter Gothic American Victo- Consulate style French decorative the three elements, architrave, frieze,
rian carpenter-built structure using style of the Napoleonic era. dolmen A prehistoric grouping of and cornice.
Gothic decorative elements cut corbel A projecting element support- stones made up of two or three
from wood. ing a structural element such as a upright stones topped with a hori- entasis (EN-tuh-sis) The swelling or
beam or the base of an arch. zontal. Probably part of an ancient outward curvature of the shaft of a
caryatid (kar-ee-AT-id, KAR-ee-uh- Corinthian (kuh-RIN-thee-uhn) The tomb. classical column.
tid) A column used as a structural most elaborate of the Greek and
support carved in human form. Roman orders of architecture using a dome A circular vault derived from Etruscan style Decorative style based
grouping of carved (acanthus) leaves rotation of an arch; may be hemi- on early ancient Roman precedents.
casement window Window with side- around the capital of each column. spherical, flattened (saucer dome), or
hinged sash. cornice The topmost element of an elliptical in plan. exedra (pl. exedrae) (EK-suh-
entablature or any projecting ele- druh) Room or other area of
cassapanca (kas-uh-PANG-kuh) Ital- ment at the top of a wall. Doric The simplest of the Greek and semicircular shape intended for con-
ian Renaissance ornate chest with coro The choir of Italian and Spanish Roman classical orders of architec- versation.
paneled back and arms so that it can Gothic or Renaissance churches. ture.
also be used as a bench. cove A concave projecting molding or Expressionism Art and design style
element, a trough or recess. dormer A projection on a sloping roof striving for emotional expression.
cassone (kuh-SOH-nay, -nee) Ital- Craftsman Movement American providing location for a window;
ian Renaissance elaborately carved design and furniture style based on also, a window placed in such a pro- fan vault A vault with many ribs
chest. Arts and Crafts movement in Britain. jection. radiating in a pattern suggesting a
credenza (kri-DEN-zuh) A horizontal palm fan.
cella (SEL-uh) The enclosed chamber of cabinet with shelves or drawers. dosseret (dahs-uh-RET) A block
an ancient Greek temple. crocket Ornament using projecting placed above a column capital, often fasces (FAS-eez) An ancient Roman
form based on foliage. supporting arches above. symbol of imperial power, in the
centering Temporary wood structure crossing The intersection of nave, form of a bunch of sticks tied
used in building an arch or vault. choir, and transepts in medieval dovetail A woodworking joint using together. The form was revived in
church and cathedral design. interlocking elements of tapered decorative design of the Empire
chaise (shayz) Side chair. cruciform Having the shape of a Latin form. period in France to symbolize the
chaise longue (shayz-LAWNG) cross. power and ambitions of Napoleon.
crypt An underground space below dowel A round pin fitted into matching
A chair with an extended seat area the floor of a church or cathedral, holes to join two elements; also a type fauteuil (foh-TUH-ee) A French
usable as a lounge. often used as a chapel or burial place. of joint used in carpentry and cabinet Renaissance upholstered armchair
chancel (CHAN-suhl) The sanctuary curule (KYOOR-ool) Ancient Roman making. with open arms.
area of a church or cathedral, also seat intended for person of high
called choir. rank. dravida A style of temple architecture Federal A period of American archi-
chevet (shuh-VAY) A grouping of in southern India. tecture and design (1780–1830)
chapels around the choir and ambu- dado (DAY-doh) Lower portion of an following the colonial era.
latory of a Gothic cathedral. interior wall with a special finish; drop-leaf desk A box-form desk with
Chinoiserie (sheen-WAH-zuh- also, in woodworking, a groove. a down-swinging panel to form a feudal system The governmental
ree) Use of decorative elements writing surface. (Also called a fall- system of medieval Europe based on
derived from Chinese traditional Danish Modern 20th-century decora- front desk.) the holding of land and the authority
design in 18th-century France and tive and furniture style developed in of a hierarchy of rule.
England. Denmark. duplex An apartment or flat of two
chintz A plain weave cotton textile stories. finial (FIN-ee-uhl) A top or crown
with a decorative printed pattern, Dante chair (DAHN-tay, -tee) Ital- ornament.
usually glazed. ian Renaissance folding chair using Dutch bed A bed fitted into an enclos-
choir The chancel area of a cathedral or stretched leather for seat and back. ing alcove. Flamboyant The last period of French
church, originally occupied by the Gothic architecture (14th to 16th
choir of monks. deconstructivism In late 20th-century Early English The earliest of the peri- centuries) characterized by elaborate
Churrigueresco (choor-ee-guh-RES- architecture, design making use of ods of English Gothic architecture flame-like decorative tracery.
koh) Spanish Baroque design of broken and separated elements. (13th century).
1650 to 1780. fluting Carved parallel grooves as used
cimborio (sim-BAWR-ee-oh) Spanish Decorated The second period of Eastlake style A florid Victorian deco- on the shafts of classical columns.
term for a lantern or elevated struc- English Gothic architecture (14th rative style introduced by Thomas
ture above a main roof to century). Eastlake. flying buttress A buttress of half-arch
permit window openings. form, spanning over an open space to
clapboard (KLAB-uhrd) Exterior dentils (DEN-tlz) Tooth-like projecting echinus (i-KIGH-nuhs) The round a point where pressure is applied to
building siding using overlapping decorative details used in Ionic and element of a Doric column capital at resist the thrust of an internal vault.
horizontal, flat boards. Corinthian classical architecture. the top of the column and below the
clerestory (KLEER-stawr-ee) Windows abacus. folded pilaster A pilaster fitted into
or openings in the upper part of a wall. desornamentado (des-awr-nah-MEN- a corner by giving it bent or folded
cloister Enclosed open courtyard of tah-doh) Late Spanish Renaissance eclecticism The borrowing of design form.
a monastery. Also, by extension, a decorative style using minimal deco- from various earlier periods,
monastery or convent. rative detail. common in architectural and interior fresco A painting done on wet or damp
coffer A hollowed out panel in a ceil- design of the first half of the 20th plaster using tempera colors.
ing, vault, or dome. De Stijl (duh-STIGHL) A Dutch move- century.
colonial Design from a period of colo- ment (1917–31) of early modernism frieze (freez) The second or middle
nial history, especially American in art and design. egg and dart A decorative detail used band of a classical entablature and,
work before 1776. to ornament molding in classical by extension, any horizontal decora-
architecture with alternating egg- tive band.
shaped and dart-like elements.
frigidarium (frij-i-DER-ee-
Elizabethan English design period uhm) Chamber of ancient Roman
corresponding to the reign of Queen bath containing a cold water pool.
Elizabeth I (1558–1603).
frosting Decorative surface elabora-
tion suggesting cake icing.

474 Glossary

Futurism Italian art and design style half timber A system of wood con- Italianate (i-TAL-yuh-nayt) Ameri- loggia (LOH-jee-uh) A covered porch
of the 1920s featuring movement, struction in which posts and beams can Victorian (as well as more or veranda with columns supporting
mechanization, and speed. with bracing are exposed on the out- general) design imitative of Italian the roof.
side of a structure with in-filling of precedents.
gable The triangular end wall of a brick or plaster. Louis XIV style (loo-ee-kuh-
structure with slanted roofs. Jacobean (jak-uh-BEE-uhn) English TAWRZ) The French style of
hall church Church having one large design dating from the reigns of architecture and design typical of
gambrel roof (GAM-bruhl) Gable roof interior nave space without aisles. James I and Charles I (1603–49). the period of the reign of Louis XIV
having two angles of slope, steeper (1643–1715). The term Baroque is
below and flatter above. hammer beam A type of truss in jacquard (JAK-ahrd, juh-KAHRD) A used to describe the character of the
which a horizontal tie at the base is type of loom developed in France, style.
gargoyle (GAHR-goil) A projecting omitted. capable of weaving elaborate pat-
water spout carved in fantastic terns. Also, a fabric made by the Louis XV style (loo-ee-KAnZ) The
form. high altar The most important central jacquard process. French style of architecture and
altar in a church or chapel where design of the period 1730–65, named
gate-leg table A table with hinged there are several altars. Jugendstil (YOO-guhnt-shteel) The for the king who reigned from 1723
leaves supported by swinging its term for late 19th-century German, to 1774. The character of the period
leg(s) out. highboy A tall chest with many draw- Austrian, and Scandinavian design is usually designated as Rococo.
ers. of an Art Nouveau character.
General Grant style American Vic- Louis XVI style (loo-ee-SEZ) The
torian architectural and decorative High Gothic Medieval Gothic archi- kas (kahs) Large Dutch wardrobe cabi- design style of 1765 to 1790 in
style of the time of Ulysses Grant’s tecture of the most fully developed net with hinged door front. France, named for Louis XVI who
presidency (1869–77). periods. reigned from 1774 to 1792. The
keep The most securely defended, usu- period is characterized by Neoclassi-
Georgian The style of the English high-tech 20th-century modern ally central, part of a medieval castle. cal restraint.
and American periods correspond- architecture and design featuring
ing to the reigns of the English elements typical of advanced techno- kitsch Low-quality, often playful, maksura (mahk-SOOR-uh) Sanctuary
kings George I to George IV logical design, such as that of aircraft design of poor taste. area of an early mosque with wood or
(1714–1830). and spacecraft. stone perforated enclosure.
klismos (KLIZ-mahs) An ancient Greek
ger see yurt. hipped roof Roof with slanted sur- form of chair with forward curving Mannerism A term applied to archi-
gimp Upholstery trimming of thin faces at its ends as well as at front front legs and curved rear leg and tecture and design in Italy toward
and back. back supports supporting a concave the end of the Renaissance, in which
braids of fabric wound around a wire curved back. there was an effort to escape the strict
or cord. historicism The practice of using his- classicism of the High Renaissance.
gingerbread Informal term for toric forms in design. laconicum (luh-KAHN-i-kuhm) Cham- The term is also used to identify
elaborate Victorian surface ber of an ancient Roman bath using work in northern Europe in the 16th
ornament. humanism Thought or philosophy hot, dry heat to promote sweating. and 17th centuries. The term has
girandole (JIR-uhn-dohl) A decora- based on human actions and values. been applied to modern work which
tive candle holder, often a mirror lacquer An Asian varnish used as a attempts to replace the domination of
with a candle holder on either side. hypocaust (HIGH-puh-kawst) A wood finish, with many coats form- modernism.
Glastonbury chair An English Tudor hollow space beneath the floors of ing a high-gloss surface. The term is
folding chair with X-leg base. some ancient Roman buildings pro- used for modern finishes of similar mansard roof A roof with steeply
Golden mean A ratio or proportion in viding heat from flue gases passing character made from synthetics. sloping surfaces as developed in the
which the smaller number is to the through the space from a remote French Renaissance.
larger as the larger is to the sum of furnace. ladderback chair Chair with a back
the two, or A:B = B:A + B. using several horizontal slats. Mansardic style American Victorian
Golden Oak style American furniture hypostyle hall (HIGH-puh-stighl) architectural style using a mansard
style of the late 19th century using A space containing many lantern A windowed structure rising roof.
brown colored oak. columns supporting a roof above the top of a dome or roof.
Gothic The architectural style of the structure above. marquetry (MAHR-kuh-tree) Elabo-
later Middle Ages characterized by late modernism A term used to rate surface decoration using inlay in
the use of pointed arches. impluvium (im-PLOO-vee-uhm) In describe late 20th-century archi- wood veneering.
Gothic Revival A 19th-century style ancient Roman architecture, a pool tecture and design that continues
in which the forms of medieval or cistern in the center of a courtyard the qualities of early modern (often megaron (MEG-uh-rahn) The large
Gothic architecture are used. open to the sky. International Style) design. central hall space of early Greek
Greek cross A cross having four arms palaces.
of equal length. impost block (IM-pohst) A masonry lath Thin wood strips that form a base
Greek key A decorative pattern used block at the base of an arch. for plaster surfaces. Modern lath may metope (MET-uh-pee) In ancient
in ancient Greek design in which a also be of metal mesh or plaster board Greek architecture, the square panel
key-like motif is used. inlay Decorative surface ornament with holes to help bonding of plaster. which alternates with triglyphs in the
Greek Revival A 19th-century style made by inserting forms of contrast- frieze of a classical Doric entablature.
in which the forms of ancient Greek ing color or material in spaces cut out Latin cross A cross having three equal
architecture are used. from a background material with a arms and one longer one. mews A narrow alley used for service
groin vault A vault formed by the flush surface finish. behind rows of houses.
intersection of two vaults produc- Liberty style A British term for Art
ing the intersecting edge lines called intarsia (in-TAHR-see-uh) Elaborate Nouveau style. mezzanine (MEZ-uh-neen, mez-uh-
“groins.” decorative inlay work often forming NEEN) An intermediate partial floor
grotesque Fanciful and distorted form; abstract or pictorial design, as used linenfold Carved wooden surface above a principal level of a building.
carving of such form. in the Italian Renaissance. ornament suggesting folded linen.
gueridon A candlestand with a sculp- mihrab (MEE-ruhb) Niche in a mosque
tured figure holding a circular tray International Style A 20th-century lintel A horizontal member bridg- oriented toward Mecca.
for the candle. architectural style based on func- ing an opening such as a door or
tion, usually without ornament, and window. A lintel also provides sup- mimbar The pulpit for preaching in a
characterized by flat roofs and large port for the wall or other structure mosque.
glass areas. above.
minimalism Design using little or no
Ionic (igh-AHN-ik) The second of the lit en bateau (lee-ahn-bah- decorative detail.
three orders of ancient Greek and TOH) A French form of elaborate
Roman architecture. Column capitals bed in a form suggesting a boat, Mission style 19th-century American
are characterized by the use of a pair developed in the Empire period. design suggesting the design of
of volutes of spiral form.

Glossary 475

the California missions. Often used oculus (AHK-yuh-luhs) A circular portico A colonnade supporting a Rayonnant (ray-oh-NAHn) A 13th-
as synonymous with Craftsman or opening or window at the top roof to form a porch, usually at the century phase of French Gothic
Golden Oak design. of a dome. entrance to a building. architecture characterized by rich
miter A joint between two pieces, and complex tracery.
with each cut at an angle to fit at a oecus (EE-kuhs) The main room of an portière Curtain hung at the sides(s) of
corner of the (usually right-angle) ancient Greek house. a doorway or other opening and then reeding Parallel thin semicircular
intersection. drawn across. moldings used decoratively.
Moderne (moh-DERN) French orchestra The round central stage of
language term for modern or mod- an ancient Greek theater. Also now post and lintel A basic system of refinements In ancient Greek archi-
ernistic design. used for the lowest level of seating in construction using vertical elements tecture, small modifications in
modernism 20th-century architec- a theater. (posts) to support horizontal mem- seemingly straight lines and geomet-
tural and design styles based on bers (beams or lintels). ric relationships intended to correct
function and structure. order (of architecture) One of the sys- for optical distortions and improve
modernistic 20th-century decorative tems of design used in ancient Greek post-modernism 20th-century aesthetic qualities.
design using elements suggestive of and Roman architecture based on architectural and interior design
the modern world. column and entablature. The three succeeding modernist work, char- Régence (ray-ZHAHnS) A French
module A single geometric unit in a important orders are Doric, Ionic, acterized by historicism and use of design style of the early 18th century
series of repeated units making up a and Corinthian. decorative elements. named after a period falling between
modular design. the reigns of Louis XIV and Louis XV
modulor A system of dimensioning ormolu (AWR-muh-loo) Gilded Prairie house Term used by Frank (1715–23).
and proportion developed by Le bronze used as decorative detail on Lloyd Wight to describe his mid-
Corbusier. furniture of the Neoclassical period. western houses designed with Regency An English period in
monopodia (mahn-uh-POH-dee- horizontal emphasis. architecture and design of the
uh) Decorative carving of furniture palazzo (puh-LAHT-soh) Italian word early 19th century, correspond-
leg using grotesque head and body for palace. provincial Design of historic periods ing in date to the regency of Prince
tapered to a single foot. of vernacular or informal character. George before he became George IV
Moorish arch Semicircular or pointed Palladian (puh-LAY-dee-uhn) Design French and Italian provincial style of (1811–20).
arch raised by vertical stilts which based on style of Andrea Palladio. the 17th and 18th centuries is often
may curve outward. admired and imitated. reinforced concrete A system of con-
Morris chair 19th-century armchair panel A surface enclosed by framing. struction in which steel reinforcing
with adjustable back. Paneling is a form of wall treatment pueblo (PWEB-loh) Flat-roofed adobe rods are embedded in concrete to
mortise and tenon (MAWR-tis; using wood surface panels. house or group of houses as built by absorb tensile stresses.
TEN-uhn) A wood joint in which native American communities in the
a projecting tongue (tenon) is parquet (pahr-KAY) Flooring of strips southwest states of Arizona and New reja (RAY-hah) An elaborate iron
inserted into a fitted opening of wood often forming patterns. Mexico. grille in Renaissance Spanish church
(mortise). interiors.
mosaic Small squares of colored stone pediment Triangular form created by pylon (PIGH-lahn) A massive masonry
or tile fitted together to form patterns the end of a gable. The pediments element as used on either side of the reliquary (REL-i-kwer-ee) Chest or
or images. of classical Greek and Roman archi- entrance front of ancient Egyptian other container for the relic of a
mosque A prayer hall, the most impor- tecture are often used as ornamental temples. revered saint or other personage.
tant type of religious building in detail in interiors and furniture.
Islamic countries. pyramid A building, usually a tomb, Renaissance The period beginning
mud brick Masonry block made pegged lap joint Wood joint in which of pyramidal form as built in ancient around 1400 in Italy and continuing
by impacting and drying mud in two pieces are overlapped and held Egypt. in European design until about 1800,
a mold. together with a peg or pin passing in which a revival of classical design
mudéjar (moo-DHAY-hahr) Spanish through both pieces. quadratura (kwah-drah-TOOR- concepts was dominant.
decorative style developed under ah) Illusionistic painting in
Islamic influence in the 13th to 17th pendentive A triangular area of perspective on walls or ceilings. reredos (RER-uh-dahs, REER-dahs) A
centuries. masonry used to connect the base of a screen behind the altar of a church,
mullion (MUHL-yuhn) A vertical dome to a square space below. quadripartite vaulting (kwah-druh- usually sculptured or decorated.
member dividing the panels or panes PAHR-tight) Vaulting in which each
of a window or door. peristyle A sequence of columns sur- vault is divided by ribs or intersec- Restoration period The era of
mural A wallpainting. rounding a building or interior court. tion lines into four parts. Charles II and James II in England,
1660–88.
nagara A style of temple architecture in perpendicular A line at right angles quadro riportato (KWAH-droh-ree-
northern India. to another (usually horizontal) line. pawr-TAH-toh) Paintings on panels Rococo (ruh-KOH-koh, roh-kuh-
Also (Perpendicular), the 15th- and set into a vault or paintings simulat- KOH) A style of architecture and
narthex (NAHR-theks) A porch or 16th-century style of English Gothic ing this pattern. decoration of the 18th century fol-
vestibule at the front of the nave of architecture. lowing the Baroque period,
a church. quatrefoil (KA-truh-foil, KAT- which made use of simpler forms and
piano nobile (PYAH-noh NAW-bee- uhr-) An ornamental element of four more delicate decoration than the
nave The main central space of a cathe- lay) Italian term for the principal lobes. Baroque style.
dral or church. (usually second) floor of a building.
Queen Anne English design style of rolltop desk Desk with a top cover
Neoclassical A style of architecture pilaster (pi-LAS-tuhr) A flattened form the early 18th century, named for that could be rolled away.
and design derived from ancient of a column set against a wall surface. the English queen (reigned 1702–14).
Greek and Roman architecture. The style was revived in the second Roman arch An arch of semicircular
pillar and scroll style American 19th- half of the 19th century, marking a form as used in ancient Roman archi-
Norman The English Romanesque century style developed by Duncan return to Neoclassicism. tecture.
style of the 11th and 12th centuries. Phyfe, using carved classical column
and scroll elements. quoin (koin, kwoin) A projecting stone Romanesque (roh-muh-NESK) The
at the corner of a building forming a architectural style of the early
piloti (pi-LAHT-ee) Massive pylon-like decorative corner band. Middle Ages in Europe, character-
support column used to elevate build- ized by use of Roman arch forms.
ing mass above ground-floor level. radial symmetry Symmetry across The term Norman is used in
several axes in a circular pattern. England.
Plateresco (plat-uh-RES-koh) Early
to mid-16thcentury Spanish design rattan Palm bark used in thin strips Romanticism Interest in romantic con-
style , characterized by fine detail for caning and for weaving wicker cepts such as medieval and Gothic
suggesting the work of a silversmith. furniture. periods as developed in the late 18th
and early 19th century.
polychromy (PAHL-ee-kroh-
mee) Ornamental surface design
using several colors.

476 Glossary

rondel (RAHN-dl, rahn-DEL) A round Shaker style Reserved and simple temple house House built in the form triforium (trigh-FAWR-ee-uhm) The
element of surface decoration, often style as developed by the American of a Greek temple. gallery above the main nave arcade
containing a sculptural element. Shaker religious society. and below the clerestory of a Gothic
tepee American native portable house cathedral or church.
rose window The large round shingle A thin slice of wood used to formed of poles supporting skin or
window, usually in the façade form external covering of buildings. blanket external surfaces. triglyph (TRIGH-glif) A panel carved
of a Gothic cathedral or church. in three vertical strips used in
Shingle style Architectural style of tepidarium (tep-i-DER-ee-uhm) Room alternation with the metopes that
rotunda (roh-TUHN-duh) Round, the late Victorian era in America of ancient Roman bath providing ornamented the frieze of a Greek
domed interior space. with building exteriors covered by moderate heat. Doric entablature.
shingles.
row house A house built into a con- terrazzo (tuh-RAHT-soh, -RAZ- triptych (TRIP-tik) A three-panel
tinuous row of adjacent houses. shogi Sliding screen panels used to oh) Small chips of marble imbedded painting in which the side panels are
divide space in traditional Japanese in cement and polished to form a hinged to form doors to cover the
rustication Stonework treated house architecture. smooth surface suitable for flooring. center panel.
with projecting stones and recessed
joints to form a strong surface soffit (SAHF-it) The underside of any textile block Concrete block devel- trompe-l’oeil (trawmp-LOI) Realistic
pattern. element. oped in the 1920s by Frank Lloyd painting technique creating an illusion
Wright with patterned surface to of reality (literally, “fools the eye”).
sacristy (SAK-ruh-stee) Room of a space planning 20th-century office provide a textile-like surface pattern.
church intended for the robing of and other interior planning. trulli (TROO-lee) Simple dome-topped
clergy. thrust The outward force exercised by buildings typical of Apulia in south-
splat back A chair back using a wide arches, vaults, and domes, requiring ern Italy.
sail vault Vault of flattened curvature vertical element of wood at its center. restraint from solid masonry or from
forming ceiling of an interior space. buttressing. truss Structural element of wood or
split lath Thin sheets of wood partially steel spanning open spaces through
salt-box A house form in which a gable split to form a base for plaster which tokonoma An alcove in a traditional use of triangulation.
roof extends much lower at the rear forms keys as it is pressed into the Japanese house where a picture is
of the building than at the front, splits. hung and a vase or some other orna- Tudor The style of early Renaissance
a form suggesting a commonplace mental object is placed. architecture of England in the reigns
kitchen salt container. spool and knob Decorative detail of Tudor monarchs from 1485 to 1601.
using alternate cylindrical and tongue and groove Wood joint using
Savonarola chair (sav-uh-nuh-ROH- spherical elements. projecting tongue fitting into match- turkey-work Embroidery imitative of
luh) Italian Renaissance folding ing groove. oriental textiles used for upholstery
chair said to be used by Savonarola. stave church Early medieval church in in Renaissance England.
Finland using massive vertical struc- torchere (tawr-SHER) A candle or
Savonnerie carpet (sav-uhn- tural members. lamp stand. Tuscan Ancient Roman simplified
REE) French carpet of the 18th Doric order.
century produced by factory at stereotomy (ster-ee-AHT-uh-mee, torchier (tawr-CHEER) Stand or fix-
Savonnerie. steer-) Art of stone cutting to form ture holding torches or candles to tympanum (TIM-puh-nuhm) The
elements of complex vaulted provide lighting. triangular panel formed within a
scarsella Italian term for a small con- structure. pediment.
nected square chancel of a chapel or tower house Medieval castle type in
church. stoa (STOH-uh) Covered loggia at one which a vertical stack of rooms cre- unité d’habitation (ue-nee-TAY-dah-
side of the open marketplace (agora) ates a defensible tower. bee-tah-SYAWn) Term given to large
sconce A decorative wall bracket hold- in ancient Greek cities. apartment dwellings as developed in
ing candles or light bulbs. trabeated (TRAY-bee-ay-tid) See post the 20th century by Le Corbusier.
strapwork Carved or plaster decora- and lintel.
screens Room adjacent to the hall of tive detail suggesting bands cut from Usonian (yoo-SOH-nee-uhn) Term
a medieval manor house acting as a leather. tracery Gothic ornamental carved coined by Frank Lloyd Wright to
vestibule or pantry. detail in thin, complex patterns. describe his American (U.S.) design.
stripped classicism Design of the
scroll saw Mechanical powered saw 1920s and 1930s based on classicism traditionalism Design limited to vargueño (vahr-GAYN-yoh) A form of
capable of cutting complex curves. but with classical detail simplified or elements borrowed from historic drop-fronted desk developed in the
omitted. precedents. Spanish Renaissance.
Secession A movement in Vienna at
the end of the 19th century in which stupa A Buddhist religious monument, transept Outward-projecting arm vault A masonry construction in which
architects and designers (and other usually of domelike form, often on either side of a cathedral or one or more arch forms are used to
artists) withdrew from academic containing a relic. A stupa may be a church forming a cross-shaped (cru- cover an open space.
exhibitions in order to create a non- complete building or part of a build- ciform) plan.
traditional style. ing, either external or internal. vernacular Design produced through
transom The top element of a window, common practice without assistance
Second Empire French Louis XVI stylobate (STIGH-luh-bayt) The step or a window located above a door, from trained or professional aid.
revival style of 1850s and 1860s. forming the base of a classic colon- usually arranged to open separately.
nade. Victorian The design period in
secretary desk Desk with bookcase transparente (trahns-pah-REN- England and America correspond-
above and writing desk below as swag Decoration in the form of a hang- tay) An elaborately sculptured ing to the reign of Queen Victoria
developed in 17th- and 18th-century ing garland. backing for an altar in a Spanish (1837–1901).
England and America. cathedral, permitting observation of
symmetrical balance Balance the sacrament from the chancel and villa An Italian country house, usually
sedia (SED-yah) Italian Renaissance achieved with matching elements on from the ambulatory behind. of great luxury. The term has come
chair. either side of a center line. into more general use for any large
travertine A soft limestone marble country house.
set-back In tall buildings, a reduc- tablinum (ta-BLIGH-nuhm) A small having small voids, sometimes filled
tion of size from one upper level to room or alcove in an ancient Roman with plaster or mortar. volute (vuh-LOOT) A spiral decorative
another as required by zoning laws. house at the end of the atrium where form used as the major element in the
family records and portraits were trefoil (TREE-foil, TREF-oil) A carved capital of a column of the Ionic order
sexpartite (seks-PAHR-tight) A type kept. decorative element having three of architecture.
of medieval vaulting in which the leaf forms.
vault surface was made up of six tambour door (TAM-boor) Flexible voussoir (voo-SWAHR) A stone of an
parts. sliding door formed of parallel thin triclinium (trigh-KLIN-ee-uhm) The arch, wedge-shaped to retain its place
strips glued to a canvas back. dining room of an ancient Roman in the completed arch structure.
sgabello (skah-BEL-oh, zgah-) A small, house using three reclining plat-
easily portable chair developed in tamped earth Earth pounded to form forms arranged to form an open
the Italian Renaissance. a firm surface to serve as a floor. square.

Glossary/Bibliography 477

wainscot (WAYN-skaht, westwork Frontal structure of German wigwam A hut of grass and thatch as wing-back chair Chair with a high
-skuht) A lining for the lower part of medieval churches. built by native American tribes in back and forward-projecting uphol-
an interior wall. the eastern American continent. stered elements.
what-not Victorian shelf unit
Werkbund (VERK-bunt) A German, intended to hold decorative William and Mary The English style WPA style Architectural design of
and later an Austrian, organization ornaments. of the 17th century during the reigns the 1930s projects of the American
dedicated to the promotion of better of William III and Mary (1689– governmental agency using stripped
design. wheelback chair Victorian chair using 1702). The design of the period is classical forms.
a circular wheel form as a back. Baroque in character.
Werkstätte (VERK-shte-tuh) Austrian yurt (yoort) A movable round hut used
organization promoting the work wicker Woven fibers of rattan, Windsor (chair) A chair with a simple by migratory Mongolian tribes.
of Vienna Secession design through bamboo, or other materials used to saddle seat using many thin wood
workshops, shops, and displays. form furniture, also called wicker- turnings to support a bent-back rim.
ware.

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482

Picture Credits

The publishers wish to thank the insti- 2.15, 2.17 Laurence King Publish- ick L Ames, in the name of Frederick Brussels, Codex 9967 folio 47 (Jean
tutions and individuals who ing/Paul M. R. Maeyaert, Mont de L Ames Wauquelin, Lystoire de Sainte Helen)
have kindly provided photographic l’Enclus (Orroir), Belgium 4.33 Bernard O’Kane/Alamy 5.31 Metropolitan Museum of Art,
materials for use in this book. In all 4.34 Gavin Hellier/Robert Harding Pic- Cloisters Collection/Art Resource/
cases, every effort has been made to con- 2.22. 2.23, 2.25 Laurence King Publish- ture Library Photo Scala, Florence
tact the copyright holders, but should ing/Fotografica Foglia, Naples 4.35 akg-images 5.32 Bibliothèque Nationale de France
there be any errors or omissions the 4.36 Sybil Sassoon/Robert Harding Pic- 5.37 CSG CIC Glasgow Museums Col-
publishers would be pleased to insert 3.1, 3.7 Cameraphoto Arte, Venice ture Library lection
the appropriate acknowledgment in any 3.2 Jenny Pate/Robert Harding Picture 4.39 Gilles Mermet/akg-images 5.38 Musée du Moyen Age, Cluny/
subsequent edition of this book. 4.40 Bettmann/Corbis Photo RMN - R. G. Ojeda
Library 4.42 Dale Cherry/Rex
1.1 Photo Scala, Florence 3.3, 3.5 Photo Scala, Florence 4.44 Courtesy Ron Knapp 6.1, 6.3, 6.4, 6.10 Photos Studio Fotogra-
1.2 J. Clottes, Ministère de la Culture 3.4 Photo Vincenzo Pirozzi, Rome 4.48 Dean Conger/Corbis fico Quattrone, Florence
3.8, 3.9, 3.15 Conway Library, The 4.49 Christopher Little/Aga Khan Trust
et de la Communication, Direction for Culture 6.6, 6.7, 6.8, 6.9, 6.13, 6.19, 6.20, 6.22,
du Patrimonie, Sous Direction de Courtauld Institute of Art, London, 4.50, 4.51 Bonhams, London/Bridgeman 6.24, 6.33, 6.38 Photo Scala, Florence
l’Archéologie photo A. F. Kersting Art Library
1.3, 1.32, 1.33, 1.38 John Pile, New York 3.11 Adam Woolfitt/Corbis 4.52, 4.60 © Victoria & Albert Museum, 6.12 Ralph Lieberman/Laurence King
1.4 Smithsonian Institution, National 3.12 Josephine Powell Photograph, London Publishing
Anthropological Archives, neg. 1713 courtesy of Historic Photographs, 4.53 Francois Guenet/akg-images
1.11 Courtesy Times Books Fine Arts Library, Harvard College 4.54 Christie’s Images 6.14, 6.18 James Morris, London
1.13 Photo Günter Schörlitz, Library 4.55 Courtesy Pei, Cobb, Freed and 6.23, 6.29, 6.30 John Pile, New York
Fotozentrum der Friedrich-Schiller- 3.13, 3.18, 3.19, 3.29 Photo Paul M. R. Partners 6.26 © CAMERAPHOTO Arte, Venice
Universität, Jena Maeyaert 4.56, 4.57, 4.58 Timothy Ciccone/ www. 6.31 Accademia, Venice, photo Camera-
1.15 James Gritz/Robert Harding Pic- 3.17 Photo Studio Fotografico Quat- orientalarchitecture.com
ture Library trone, Florence 4.59 Collection of National Museum of photo Arte, Venice
1.16 The Collection of Newark Museum, 3.20, 3.24, 3.25 John Pile, New York Korea 6.32 Scuola di S. Giorgio degli Schiavoni,
Gift of Miss Louise MacDougall 3.21 Angelo Hornak, London 4.61 Christopher Rennie/Robert Hard-
1.18 Eitan Simanor/Robert Harding Pic- 3.22 Erich Lessing/akg-images ing Picture Library Venice/Photo Scala, Florence
ture Library 3.23 Courtesy of the Honourable Jason 4.62 Carl & Ann Purcell/Corbis 6.34 Museo Nazionale del Bargello, Flor-
1.19 © Esther Pasztory 1972 Lindsay, Hedingham Castle 4.63 Free Agents Limited/Corbis
1.20, 1.22 Robert Frerck/Robert Hard- 3.30 The Royal Collection Trust © Her 4.64, 4.65, 4.66 Werner Forman Archive ence/Bridgeman Art Library
ing Picture Library Majesty Queen Elizabeth II 2013 4.69 Michael Freeman/Corbis 6.35, 6.36 Photo Scala, Florence. Cour-
1.21 Princeton University of Art 3.31 British Library, London MS Harley 4.70 Vanni/Art Resource, NY
Museum. Museum purchase, gift of MS 4431 4.71 The Trustees of the British tesy of the Ministero Beni e Attività
the Hans A. Widenmann, Class of 3.32 Oronoz, Madrid Museum/Photo Scala, Florence Culturali
1918, and Dorothy Widenmann Col- 4.72 Suzanne Held/akg-images 6.37 Sotheby’s Picture Library
lection, photo Justin Kerr 4.1, 4.20 Jean-Louis Nou/La Collection 4.73 Kyoto National Museum 6.39 Museo Civico Correr, Venice, photo
1.23 Ken Gillham/Robert Harding Pic- 4.3, 4.37, 4.38 Dagli Orti/The Art Cameraphoto Arte, Venice
ture Library 5.1, 5.14, 5.15, 5.33 Photo Paul M. R.
1.24, 1.28 Dagli Orti/The Art Archive Archive Maeyaert 7.1 Photo Scala, Florence. Courtesy of
1.25, 1.34 Robert Harding Picture 4.4 Brian Vikander/Corbis the Ministero Beni e Attività Cul-
Library 4.5 Bridgeman Art Library 5.2 Musée Condé, Chantilly/Giraudon/ turali
1.27 Richard Ashworth/Robert Harding 4.6, 4.9, 4.22, 4.28, 4.29 Conway Bridgeman Art Library
Picture Library 7.3 James Morris, London
1.29 The Art Archive Library, The Courtauld Institute of 5.3, 5.5, 5.13, 5.18. 5.20, 5.21, 5.24 7.4 Conway Library, Courtauld Institute
1.30 Gianni Dagli Orti/Archaeological Art, London, photo A. F. Kersting Angelo Hornak, London
Museum Lima/The Art Archive 4.7 Sonia Halliday Photographs of Art, London, neg. # B76/2249
1.36 Egyptian Museum, Cairo/Photo 4.8, 4.11, 4.12 Photo Scala, Florence 5.10, 5.25, 5.26, 5.28, 5.35 John Pile, 7.5, 7.12 Photo Scala, Florence
Scala, Florence 4.13 The Metropolitan Museum of Art/ New York 7.8 Photo Vincenzo Pirozzi, Rome
Art Resource/Photo Scala, Florence 7.11 Cameraphoto Arte, Venice
2.1 Samuel H. Kress Collection/National 4.14, 4.15 The Hali Archive 5.19, 5.27, 5.39 Conway Library, The 7.13 Conway Library, The Courtauld
Gallery of Art, Washington, D.C. 4.16 Ursula Gahwiler/Robert Harding Courtauld Institute of Art, London,
Picture Library photo A. F. Kersting Institute of Art, London, photo A. F.
2.2 Ancient Art and Architecture Col- 4.18 Stapleton Collection/Corbis Kersting
lection 4.19, 4.23, 4.24 Lindsay Hebberd/ 5.22 © The Trustees of the National 7.14 Achim Bednorz, Cologne, Germany
Corbis Museums of Scotland. Purchased 7.16 Photo Paul M. R. Maeyaert/ Cour-
2.3 Hirmer Fotoarchiv, Munich 4.21 Corbis by Private Treaty with the aid of the tesy Stift St. Florian
2.6a, 2.10, 2.13, 2.24 John Pile, New 4.26 Michael Graham-Stewart/ Bridge- National Heritage Memorial Fund, 7.17, 7.18, 7.19, 7.21, 7.25, 7.26 photo
man Art Library the Art Fund (William Leng Bequest) Paul M. R. Maeyaert
York 4.27 A. F. Kersting/akg-images and the Pilgrim Trust 1982 7.20, 7.24 Erich Lessing/akg-images
2.6b With permission of the Royal 4.30 Dinodia/Bridgeman Art Library 7.23 Dr W Bahnmuller/Bildverlag/ Bild-
4.31 British Library/akg-images 5.23 Photo Scala, Florence werbung
Ontario Museum, Toronto © ROM 4.32 Photograph © 2004 Museum of 5.29 Photo Pierpont Morgan Library/ 7.27 Rabatti-Domingie/akg-images
2.12 Archaeological Museum, Athens Fine Arts, Boston. Gift of Mrs Freder- 7.28 Bayerisches Nationalmuseum,
Art Resource/Photo Scala, Florence Munich/Giraudon/Bridgeman Art
5.30 Bibliothèque Royale de Belgique, Library
7.29 Angelo Hornak, London
7.30 akg-images
7.31 Pirozzi/akg-images

Picture Credits 483

8.1, 8.13, 8.16 Photo Paul M. R. Maey- 10.1 Conway Library, The Courtauld 12.1 Courtesy The Pennsylvania Acad- 14.9 Photo by Nicolas Sapieha
aert Institute of Art, photo A. F. Kersting emy of the Fine Arts, Philadelphia, 14.10, 14.18, 14.20 John Pile, New York
photo Rick Echelmeyer 14.11 Photo Paul M. R. Maeyaert
8.2 Roger-Viollet, Paris 10.2 Photo by Ferenz Fedor, Courtesy 14.15 Museum of Finnish Architecture,
8.3, 8.11a Conway Library, Courtauld of Museum of New Mexico, neg. no. 12.2 Conway Library, The Courtauld
100506 Institute of Art, London, photo A. F. Helsinki
Institute of Art, London Kersting 14.17 Österreichische NationalBiblio-
8.4 John Pile, New York 10.3, 10.4, 10.8, 10.25 Library of Con-
8.8 RMN-Grand Palais /Agence Bulloz gress, Washington, D.C. 12.3 John Hammond/National Trust thek, Vienna
8.9, 8.20, 8.27, 8.28 Laurence King Photographic Library/The Bridge- 14.22 Digital image, The Museum of
10.5 American Museum, Bath man Art Library
Publishing and Bridgeman Art 10.6 John Pile, New York Modern Art, NewYork/Scala, Florence
Library, London. Commissioned for 10.7 The Minneapolis Institute of Arts, 12.4 National Monuments Record, Bed- 14.23 Private collection/Bridgeman Art
John Whitehead, French Interiors ford Lemere 5272/English Heritage
of the Eighteenth Century (Laurence The Driscoll Fund and the Julia B. Library
King, London, 1992), photo Bigelow Fund, 84.52a-j 12.7 Image Courtesy The Olana Partner- 14.24 © Victoria & Albert Museum,
J. M. Tardy 10.9 The Metropolitan Museum of Art/ ship. The home of Hudson River
8.10 Country Life Picture Library, Art Resource/Photo Scala School painter, Frederic Edwin London
London 10.10 Philadelphia Museum of Art Church (1826–1900) is now a New 14.25 Courtesy The Corning Museum of
8.12 Author’s image/Jean-Claude 10.11 Colonial Williamsburg Founda- York State Historic Site open to the
Vargo/Alamy tion, Virginia public. Photo © Andy Wainwright Glass, Corning, New York, 76.4.2
8.14 RMN-Grand Palais (Musée du 10.12 Richard Bryant/Arcaid.co.uk 14.26 Artistic houses: being a series of
Louvre)/Droits réservés 10.13 Philadelphia Museum of Art/ Corbis 12.9 Museum of the City of New York,
8.15 Giraudon/Bridgeman Art Library 10.14 Fine Arts Museum of San Francisco, Print Archives. Byron Collection interior views of a number of the most
8.17 Dagli Orti/The Art Archive Museum purchase, gift beautiful and celebrated homes in the
8.19 Image copyright The Metropolitan of Mrs. Robert L. Wood and the 12.11 Courtesy of The Adirondack United States : with a description of
Museum of Art/Art Resource/Scala, Museum Acquisition Fund, 1990. 21.2 Museum, Blue Mountain Lake, New the art treasures contained therein.
Florence 10.15 Christie’s Images/Corbis York New York: Printed for the subscribers
8.22 Archives CDA/Guillot/ 10.16 Photo Art Resource/Scala by D. Appleton and Co., 1883–1884.
akg-images 10.17 Society for the Preservation of 12.12 Richard Bryant/Arcaid.co.uk Special Collections, University of Dela-
8.23 Photo RMN, Paris New England Antiquities, Boston 12.16 Courtesy VITETTA, Philadelphia ware Library, Newark, Delaware
8.24 Jérôme da Cunha/akg-images 10.18 Monticello/Thomas Jefferson 14.27 Private Collection
8.26, 8.35 Christie’s Images Memorial Foundation Inc. & Hyman 14.28 Art Institute of Chicago
8.30 Conway Library, The Courtauld 10.19 Architect of the Capitol, Washing- 12.17 Araldo de Luca/Corbis 14.29 Laurence King Publishing/Ralph
Institute of Art, London, photo A. F. ton, D.C. 12.19 Milwaukee Art Museum, bequest Lieberman
Kersting 10.20 Courtesy The Octagon Museum,
8.31 The Art Archive/Alamy Washington, D.C., photo Robert C. of Mary Jane Rayniak in memory 15.4 Roger-Viollet, Paris
8.32 Château de Compiègne, Oise, Lautman of Mr. and Mrs. Joseph G. Rayniak. 15.5 Courtesy of The Preservation Soci-
France/Giraudon/The Bridgeman 10.21 Courtesy Owens-Thomas House M1987.16, photo Larry Sanders
Art Library 10.22 Fine Arts Museum of San Fran- 12.20 Christie’s Images/Bridgeman Art ety of Newport County, photo John
8.36, 8.37 Oronoz, Madrid cisco, Gift of Stuart Scott, Davenport Library Corbett
8.37 Patrimonio Nacional, Madrid/ Scott and Mrs. Barbara Scott Meyer 12.21 Historic New England, Boston, 15.6 Biltmore Estate, Asheville, North
photo Paul M.R. Maeyaert in memory of their mother, Mrs. Massachusetts, USA/Gift of Marga- Carolina
8.38 Pernille Klemp/ Kunstindustrimu- Anna Lawton Scott, 1982.9.1 ret Carson Holt/The Bridgeman Art 15.7 Library of Congress, Washington,
seet, Copenhagen 10.23 Fine Arts Museum of San Francisco, Library D.C.
8.39 Photo Scala, Florence Bequest of Lucy D. Hale, 1990.28.1 15.8 Museum of the City of New York,
10.24 Collection of the New-York His- 13.1 National Trust for Scotland Print Archives, photo George P. Hall
9.1 Wilton House Trust, photo Ian torical Society/The Bridgeman Art 13.2 John Freeman, London & Son, 1911
Jackson Library 13.3 © Victoria & Albert Museum, 15.9 Arny Raedts/Alamy
10.26 Courtesy The Hermitage: Home 15.10 Tim Street-Porter/ Beateworks/
9.3 Courtesy the Mauritishuis, The of President Andrew Jackson, Nash- London Corbis
Hague ville, TN 13.5 Conway Library, The Courtauld 15.11 Museum of the City of New York,
Print Archives
9.4 Otto Naumann Ltd, New York 11.1, 11.14 John Freeman, London Institute of Art, London, photo A. F. 15.12 Culver Pictures/The Art Archive
9.5 National Gallery, London 11.2 Royal Pavilion, Libraries & Muse- Kersting 15.13 Courtesy Saint Thomas’s Church
9.8, 9.14, 9.15, 9.18, 9.20 Conway 13.8 Freer Gallery of Art, Smithsonian 15.14, 15.15 Courtesy of Cranbrook
ums, Brighton Institution/Gift of Charles Lang Archives, Bloomfield Hills, Michi-
Library, The Courtauld Institute of 11.4, 11.18 John Pile, New York Freer/Bridgeman Art Library gan. negs K1989 and K1989-2
Art, London, photo A. F. Kersting 11.7 Conway Library, The Courtauld 13.11 British Architectural Library, 15.16 Richard T. Nowitz/Corbis
9.9, 9.13, 9.33 © Victoria & Albert R.I.B.A., London 15.19 Private Collection
Museum, London Institute of Art, London, photo A. F. 13.13 Glasgow Museums 15.23 James Mortimer/National Trust
9.11 John Freeman, London Kersting 13.14, 13.16 John Pile, New York Photo Library
9.21 Courtesy English Heritage/ War- 11.9 The Merchant’s House Museum, 13.17 Courtesy of the Print Department, 15.24 Compagnie Generale Maritime/
burg Institute, London New York, photo Madeleine Doering Boston Public Library Agence Le Havre
9.22, 9.23 Private Collection/Bridgeman 11.10 David Finn, New York 13.18 Richard Bryant/Arcaid.co.uk
Art Library 11.11 Library of Congress, Washington, 13.19 Gardner/Halls/Architectural 16.1, 16.2 Museum of Modern Art, New
9.24, 9.29, 9.30 John Pile, New York D.C. Association Photo Library York/Photo Scala, Florence © ARS,
9.25 By courtesy of the Trustees of Sir 11.13 John Freeman, London NY and DACS, London 2013
John Soane’s Museum 11.15 Richard Bryant/Arcaid.co.uk 14.1 Musée de l’Ecole de Nancy. Gift
9.27 Angelo Hornak/Alamy 11.20, 11.21 Conway Library, The Cour- of Madame Charles Masson, 1938, 16.3, 16.4 © ARS, NY and DACS,
9.28 Osterley Park/The Bridgeman Art tauld Institute of Art, London, photo photo Studio Image London 2013
Library James Austin
14.3 Paul M. R. Maeyaert © DACS 2013 16.6 Photo Frank den Oudsten © DACS
14.4 Bastin & Evrard © DACS 2013 2013
14.6 Christie’s Images/Corbis
14.7 Bridgeman Art Library 16.7 The Museum of Modern Art, New
14.8 Christie’s Images/Bridgeman Art York, Gift of Philip Johnson/Photo

Library

484 Picture Credits

Scala, Florence © DACS 2013 18.1, 18.11 Richard Bryant/Arcaid. 20.20 Stephanie Berger/Corbis 21.43 Paul Hardy/Corbis
16.8, 16.9, 16.12, 16.15, 16.34 © DACS co.uk 20.21, 20.23, 20.24 Courtesy Herman 22.1 Nic Lehoux/View Pictures
22.2 Frank Ooms
2013 18.2, 18.3, 18.10 John Pile, New York Miller, Inc. 22.3 Yang Liu/Corbis
16.11 Sotheby’s Picture Library 18.5 Photo Paul M. R. Maeyaert 20.22 Haworth, Inc. 22.4 Courtesy Shigeru Ban Architects
16.13 Age fotostock/Robert Harding 18.6 © ADAGP, Paris and DACS, 20.25 Courtesy Aureole, Las Vegas/ 22.5 Chris Gascoigne/View Pictures/
16.14 The Mies van der Rohe Archive,
London 2013 Charlie Palmer Group Alamy © OMA/DACS 2013
The Museum of Modern Art, New 18.7 Courtesy Tim Benton, Musée des 20.27 John Pile, New York © ARS, NY 22.6 Inigo Bujeo Aguirre/View © OMA/
York/Photo Scala, Florence
© DACS 2013 Arts Décoratifs, Paris and DACS, London 2013 DACS 2013
16.16, 16.35 John Pile, New York © 18.8 John Pile, New York © DACS 2013 22.7 Peter Aaron/OTTO
DACS 2013 18.9 Courtesy Architectural Press, London 21.1, 21.6, 21.7, 21.9, 21.14, 21.15, 21.39 22.8 Richard Barnes/OTTO
16.17 Alan Weintraub/Arcaid/Corbis © John Pile, New York 22.9 Timothy Hursley
DACS 2013 19.1 Norman McGrath, New York 22.10, 22.11 Dennis Gilbert/View Pic-
16.18, 16.20, 16.21, 16.27, 16.29 © FLC/ 19.2 Photo by Marvin Rand 21.2 Werner Huthmacher/Artur/View
ADAGP, Paris and DACS, London 19.3 Kenneth Johansson/Corbis © ARS, © Barragán Foundation, Birsfelden, tures/Alamy
2013 Switzerland/ ProLitteris/DACS 2013 22.12 Philip Wegener/ Beateworks/
16.19 Photo Musée des Arts Décoratifs, NY and DACS, London 2013
Editions A. Lévy, Paris © FLC/ 19.4 © ARS, NY and DACS, London 21.3 Paul Springett C/Alamy Corbis
ADAGP, Paris and DACS, London 21.4 Grant Mudford, Los Angeles 22.13 Christian Richters/View
2013 2013 21.5 Timothy Hursley 22.14 Courtesy Ron Arad Architects
16.28 Courtesy Fondation Le Corbusier, 19.5 Laurence King Publishing/Ralph 21.8 Dennis Gilbert/View 22.15 Courtesy Gensler © Assassi Pro-
Paris © FLC/ADAGP, Paris and 21.10 The Architectural Archives, Uni-
DACS, London 2013 Lieberman © ARS, NY and DACS, ductions
16.22 Photo Peter Kent, London © FLC/ London 2013 versity of Pennsylvania, photo Matt 22.16 Chuck Eckert/Alamy
ADAGP, Paris and DACS, London 19.6, 19.7 Courtesy S. C. Johnson, Wargo 22.17 John Elk III/Alamy
2013 Racine, Wisconsin © ARS, NY and 21.12 Philadelphia Museum of Art: Gift 22.18 Nicolas Kane/Arcaid/Corbis
16.23 Bildarchiv Monheim GmbH/ DACS, London 2013 of Collab: The Group for Modern and 22.19 Tips Images/Alamy
Alamy © FLC/ADAGP, Paris and 19.8 Grant Mudford, Los Angeles Contemporary Design at the Phila- 22.20 Amit Geron
DACS, London 2013 19.9 Courtesy Avery Architectural and delphia Museum of Art, 1985 22.21 Renaud Callebaut
16.24 John Pile, New York © FLC/ Fine Arts Library, Columbia Univer- 21.13 The Architectural Archives, 22.22 Interior architect Bart Vos; pho-
ADAGP, Paris and DACS, London sity, New York University of Pennsylvania, photo
2013 19.10 Photo by Robert Damora/The Rollin R. La France tographer Derk Jan de Vries; colour
16.25 Bettmann/Corbis © FLC/ADAGP, Museum of Modern Art, New York/ 21.16 Courtesy Vitra Design Museum, artist Peter Struycken
Paris and DACS, London 2013 Photo Scala, Florence photo Thomas Dix © Alessandro 22.23 Courtesy Perkins + Wills
16.26 Anderson & Low, London © FLC/ 19.11 © DACS 2013 Mendini 22.24 Cesar Rubio
ADAGP, Paris and DACS, London 19.12 Library of Congress, Washington, 21.17 DeAgostini Picture Library/Photo 22.25 Courtesy Anders Sune Berg
2013 D.C. © DACS 2013 Scala, Florence 22.26 Chuck Choi/Arcaid/Corbis
16.30, 16.31, 16.33 Museum of 19.13 Lisa Larsen/Time Life Pictures/ 21.18 Courtesy Sottsass Associati 22.27 Photo Courtesy Dennis Gibbens,
Finnish Architecture, Helsinki © Getty Images © Succession Miró/ 21.20 Peter Aaron/OTTO photo Benny Chan
DACS 2013 ADAGP, Paris and DACS, London 21.21 Courtesy Bernard Tschumi, photo 22.28 Philipus/Alamy
16.32 Museum of Finnish Architecture, 2013 Peter Mauss 22.29 Paul Warchol
Helsinki, photo Jussi Tiainen © 19.14, 19.21 John Pile, New York 21.22 Canadian Centre for Architecture, 22.30 Philippe Ruault
DACS 2013 19.15 The Archives of Dorothy Draper Montreal, photo Michel Legendre 22.31 Li Xiaodong
& Company Inc. 21.23 Tim Street-Porter/Elizabeth Whit- 22.32 Luciano Leon/Alamy
17.1 John Freeman, London 19.18 The Museum of Modern Art, New ing & Associates, London 22.33 Courtesy Pelli Clarke Pelli Archi-
17.3 The Art Archive/Alamy York/Photo Scala, Florence 21.24 Courtesy Vitra (www.vitra.com), tects
17.5 Conway Library, Courtauld Insti- 19.19, 19.20 Bonhams London/ Bridge- photo Hans Hansen 22.34 Courtesy Kohn Pedersen Fox
man Art Library 21.25 Office for Metropolitan Architec- Associates
tute of Art, London 19.21, 19.23 Courtesy Herman Miller, Inc. ture © OMA/DACS 2013 22.35 Courtesy Ron Arad Associates
17.7 Andrew Gordon Photography Inc, 21.26 Richard T. Nowitz/Corbis 22.36 Courtesy Nendo
20.1 Courtesy Philippe Garner, London 21.27 Norman McGrath 22.37 Digital image, The Museum of
New York 20.3, 20.8, 20.12, 20.17, 20.26 John Pile, 21.28, 21.41 Richard Bryant/ Arcaid. Modern Art, New York/Photo Scala,
17.8 Courtesy Radio City Music Hall, co.uk Florence
New York 21.29, 21.30 Courtesy Philippe Starck, 22.38 Courtesy Ross Lovegrove
photo George Kalinsky 20.4 Kim Ahm, Copenhagen Paris 22.39 Scott Frances/Condé Nast
17.9 Bettmann/Corbis 20.5 Arkitekturmuseets, Stockholm 21.31 Courtesy Andrée Putman, photo Florence
17.10 James Kirkikis Photography, Pho- 20.6 Museum of Finnish Architecture, Deidi von Schawaen 22.38 Ross Lovegrove
21.32 LOOK Die Bildagentur der Foto- 22.39 Scott Frances/Condé Nast
tographers Direct Helsinki grafen GmbH/Alamy
17.11, 17.19 John Pile, New York 20.10 Courtesy Royal Festival Hall, 21.33 Courtesy Maki and Associates,
17.12 Dansk Moebelkunst photo © Toshiharu Kitajima
17.13 Michael Fazio London 21.34 Courtesy of Marc Newson Limited
17.16 Diner Archives of Richard J. S. 20.11 G. E. Kidder Smith/Corbis 21.35 Courtesy Ron Arad Associates
20.13 Kenneth Johansson/Corbis 21.36 La Perruque/Alamy
Gutman, West Roxbury, Mass 20.14 Tim Street-Porter/Elizabeth Whit- 21.37 Belinda Images/SuperStock
17.17 Chicago Historical Society, 21.38 Dennis Gilbert/View Pictures/
ing & Associates, London Alamy
Hedrick Blessing Collection 20.15 Photo Robert E. Mates/ Guggen- 21.40 Croxton Collaborative Architects
17.18 Courtesy Architectural Press, P.C., New York
heim Museum, New York © ARS, NY 21.42 Jan Woitas/epa/Corbis
London and DACS London 2013
17.20 G.M. Media Archives, Detroit 20.16 Bettmann/Corbis
20.19 Robert C. Lautman Photogra-
Michigan, neg. 148555 phy Collection, National Building
Museum, Washington, D.C.

Index 485

Index

Numbers in italics refer to illustrations. Pro- The Annunciation (Campin/Master of Flé- modernism 426–7; buildings: Melk, Rococo 163; French Provincial style
nunciation guides for selected proper nouns malle) 117, 117 Abbey of 156, 156; Monastery of St. 187; Georgian 208; American Colonial
are given in parentheses. For Florian, Linz 155, 155–6; Kunsthaus, 216, 221; Victorian 266
an explanation of the symbols used, Antiquities of Athens (Stuart and Revett) Graz 449; see also Vienna Behrens, Peter (BAY-ruhns, BER-uhnz) 294,
see page 472 224, 236 Austrian Travel Bureau office, Vienna, 299, 335, 337, 341
Austria 426–7 Bel Geddes, Norman (bel-GED-eez) 364,
Aalto, Alvar (AHL-toh) 349–53, 369, 376–7, Antwerp Town Hall, the Netherlands 193 Azay-le-Rideau, Château, Loire, France (ah- 367, 369
391, 399–400, 402, 414, 423 Anubis Tomb of Pa-schedu, Thebes, Egypt 12 ze-luh-ree-DOH) 167, 167–8 Belgium 193; Gothic style 111; Art Nouveau
apartments see houses 285, 287, 288–90; eclectic style 323; see
Aarnio, Eero (AHRN-yoh) 400 Aqua Tower, Chicago, Illinois 461 Baas, Maarten 469 also Brussels
Abbaye-aux-Hommes (S. Etienne), Caen, aqueducts 38, 245 Badlam, Stephen 229 Belluschi, Pietro (be-LOO-skee) 406, 407
Arad, Ron 437, 450, 468 Bagsvaerd Church, Copenhagen, Denmark Belter, John Henry 266–7
France (AH-bay ohz oms) 60 arches 38–9, 57, 74, 102, 103–4 Belton House, Lincolnshire, England 203, 203
abbeys see monasteries architects, medieval 104, 111 (BAHGS-vaird) 398 Bennett, Ward 388, 413
Abercrombie & Fitch, New York 463 The Architects’ Collaborative (TAC) 387, 407 Baillie Scott, Mackay Hugh 277 Bentel & Bentel 457
accessibility issues 439, 445 Architectura (de Vries) 194 baldacchini (bahl-duh-KEE-nee) 148–50, 149, Berlage, Hendrik Petrus (BER-lahkh-uh) 285
Adam, Robert and James 206–8, 225, 241 Architectural Forum (periodical) 383 Bernini, Gianlorenzo (ber-NEE-nee) 148–50,
Adams, Holden & Pearson 378 The Architecture of Country Houses (Down- 175, 175–6 165, 175
adaptive reuse of buildings 446–7, 454 Baldwin, Benjamin 388, 413 Bertoia, Harry (Bair-TOY-yah) 392, 414
Adirondack style 259–60 ing) 240 Baldwin, William (Billy) 316, 391 Best Products office buildings 428
Adler, Dankmar 302 Architettura Civile (Guarini) 153 Balleroy, Château, Normandy, France (bahl- Bey, Jurgen 469
Aesthetic movements see Arts and Crafts Arciniega, Claudio de (ahr-see-NYAY-gah) Bibliothèque Nationale, Paris, France (bee-
RWAH) 169 blee-aw-TEK-nah-syaw-NAHL) 249, 249
movement; Craftsman movement 213 Baltard, Victor (bahl-TAHR) 249 Bibliothèque Ste. Geneviève, Paris, France
Affleck, Thomas (AF-lek) 229 Arena Chapel, Padua, Italy 134 Baltimore Cathedral, Baltimore, Maryland 227 (bee-blee-aw-TEK-sent-zhuhn-VYEV)
Africa 16, 16, 17, 17, 18 Arevalo, Luis de (ah-ray-VAH-loh) 188 Ban, Shigeru 436, 445, 447, 461 248, 248
Aigle, Château, Switzerland (A-gluh) 115 Arizona: San Xavier del Bac, Tucson 214 Bangladesh: National Assembly Building, Biedermeier furniture (BEE-duhr-migh-uhr)
air conditioning 395, 396, 439 Arkansas: Crystal Bridges Museum of Ameri- 186–8
Air-King Radio 321 Dhaka 86, 86, 419 Bill, Max 374, 401
air transportation: airplanes and airships can Art, Bentonville 453 bank buildings: American Federal 226–7; Biltmore, Asheville, North Carolina 308, 309
Armour-Stiner House, Irvington, New York Bing, Samuel 290, 292, 300
364; airports and buildings 371, 402–3, Neoclassical 234, 237; Art Nouveau biomorphism 429, 444, 449, 453
409, 466–7 258 303; eclectic style 327; modernist 386; Bird’s Nest (National) Stadium, Beijing,
Aitken, John 229 Aronoff Center for Design and Art, Cincin- high-tech design 421, 422; reconstruc- China 444, 444
Albers, Anni (AHL-bers, AL-buhrz) 415 tion 439 Birnau Monastery and Pilgrimage Church,
Albers, Josef 336, 387, 407 nati, Ohio 430 Bank of England, London 234, 234 Germany (BIR-nou) 158, 158
Albert, Prince 246 Arp, Jean (ahrp) 333 Bank of Pennsylvania, Philadelphia, Penn- The Birth of the Two Sons of St. Mary (Liedet)
Albert France-Lanord Architects 451 Art Center, Des Moines, Iowa 432 sylvania 226–7 116–17
Alberti, Leon Battista (ahl-BER-tee) 130 Art Deco 355–62, 367–9 Banqueting House, Whitehall, London 199, 199 Black, Misha 361
Albi Cathedral, France 105 art galleries and museums: Neoclassical 236; Barcelona, Spain: Casa Batlló 293, 293; Casa Blackler House, Pasadena, California 283
Albini, Franco 398 Milà (La Pedrera) 293; Fabrica Moritz Blakely Hall, New York 258
Alexander, Brian 411 Vienna Secession 295; modernist 341, 446, 447; Guell Park 293; Olympics Blenheim Palace, Oxfordshire, England
ALF (Additive Layered Fabrication) 444 386–7; post-war design 406; high-tech (1992) buildings 431; Sagrada Familia (BLEN-uhm) 204, 204
Alhambra, Granada, Spain (ahl-AHM-brah; design 421, 421–3, 422; post-modern Church 293 Blois, Château, Loire, France (blwah) 167
al-HAM-bruh) 74, 75 424–5, 426, 427; deconstructivist 429, Barcelona Cathedral, Spain 111 Blondel, Jean-François (blawn-DEL) 160
Alhambra, Toledo, Spain 188 429, 430, 431; late modernist 432, Barcelona Exhibition (1929) 337–9 Bloomingdale’s department store, New
alignments (standing stones) 14 432, 433; late twentieth century 435, Barcelona Pavilion, Barcelona Exhibition York 414
All Saints, Margaret Street, London, England 437–8, 439; crossover styles 435, 436, (1929) 337–9, 338 Blue Mosque (Mosque of Sultan Ahmed),
242–3 437; twenty-first century design 446, Barnes, Edward Larrabee 407, 413 Istanbul 72
Allen, Davis 388 447, 448, 448, 449, 450, 450, 451, 452, Barnes Foundation, Philadelphia, Pennsyl- BMW Central Building, Leipzig, Germany
Allied Works Architecture 454 452–4, 453 vania 453 449, 449
Das Altes Museum, Berlin, Germany (AHL- Art Institute of Chicago, Chicago, Illinois 454 Baroque style 142, 145, 147–61, 165, 172, Bo Lin Temple, Beijing, China 90, 91
tuhs-mu-ZAY-um) 236, 236 Art Nouveau 278, 279, 282, 285, 287–93, 174–82, 195, 200, 204, 441 Bodiam Castle, Sussex, England 115
Altomonte, Martin 156 299–303, 329, 441 see also Jugendstil; Barragán, Luis 417, 450 Boffrand, Gabriel-Germaine (baw-FRAHn)
Alvar Aalto Prize 438 Vienna Secession Barry, Joseph 229 179
Amalienburg, Nymphenburg Palace, Mu- Art School, Weimar, Germany 290 Barry, Sir Charles 242 Bohlin Cywinksi Jackson 459
nich, Germany 160, 161, 162, 179 Art Workers’ Guild 277, 278 Basilica, Vicenza, Italy 139 Bon Marché, Paris, France (bawn-mahr-
America see Canada; Latin America; United Artek (AHR-tek) 391 basilicas 43, 49–51, 139 SHAY) 249, 249
States Arts and Crafts movement 251, 255, 271–9, baths and bathrooms: ancient Greece 35–6; Bonnard, Pierre 288
America (ocean liner) 390 287–8, 329 ancient Rome 41, 44; medieval 65; Boontje, Tord 469
American Center, Paris, France 430 Arts & Architecture (magazine) 393 Japanese 98; Renaissance 124; Georgian Bordeaux museum, Bordeaux, France 435
American Republic Insurance Company, Des Arup, Ove 441 208; Victorian 244–5, 268; Vienna Borromini, Francesco (bawr-oh-MEE-nee)
Moines, Iowa 407 Arup House, Highgate, London, England Secession 298; modernist 345; Art Deco 150–2
Americans With Disabilities Act (ADA, 440, 441 367, 368 Boscobel Garrison, New York 225
1990) 439 Ashbee, Charles R. 277 Baths of Caracalla, Rome, Italy 40, 41 Bosse, Abraham 178
Amiens Cathedral, France (ahm-YEn) 106, Asplund, Gunnar (AHS-pluhnd) 361–2, Baths of Diocletian, Rome, Italy 41 Boston, Massachusetts: Faneuil Hall 462;
106, 109 399, 464 Battery Park City, New York 419, 419, 467 King’s Chapel 222, 223; Otis House
Amon Carter Museum, Fort Worth, Texas Atelier Elvira, Munich, Germany (ah-tel- The Bauhaus 290, 335–7, 373, 470 225; Public Library 310, 310–11; State
453 YAY-el-VEER-ah) 294, 294 Bauhaus building, Dessau, Germany 335, House (State Capitol) 225; Trinity
amphitheaters 41 Atheneum, New Harmony, Indiana 433 336, 336 Church 283, 283
Amsterdam Bourse (Stock Exchange), the At.mosphere, Burj Khalifa, Dubai 457 Bay Region vernacular 404 Bosworth, Welles 314
Netherlands 285, 285 A.T.&T. Building (Sony Building), New York Bayer, Herbert 387 Botta, Mario 426
Anapchi Pavilion, Seoul, Korea 94, 95 407–8, 410, 426, 426, 432 BBPR (Banfi, Belgiojoso, Peressutti, Rogers) Boulle, André-Charles (bool) 177
Anasazi villages, Mesa Verde, Colorado 20, 21 Attia, Ezra 456 374 Bouwens, Richard (BOU-uhnz) 357
Ancy-le-Franc, Château, Burgundy, France Auditorium Building, Chicago, Illinois 302, Beardsley, Aubrey 288 Bradbury Building, Los Angeles, California
(ahn-see-luh-FRAHn) 169, 169 302 Beauvais Cathedral, France (BOW-vay) 106, 313, 313–14
Ando, Tadao 418, 435–6, 453, 466 auditoriums 209, 363, 400, 403, 409 109
Angkor Thom, Cambodia 87, 87 Aulenti, Gae 439 Beaux-Arts style 305–14, 319, 381, 390
Angkor Wat, Cambodia 86, 87 Aureole restaurant, Las Vegas, Nevada 412, Beckford, William 241
413–14 beds and bedrooms: medieval 116–17; Re-
Australia: Reece High School, Tasmania 464; naissance 124, 125, 142, 145, 195, 197;
Sydney Opera House 398, 455
Austria: Baroque style 155–7; Vienna
Secession 295–9; modernism 373; post-

486 Index

Bradfield, Geoffrey 471 Library, San Juan Capistrano 425; Centraal Beheer, Apeldoorn, the Nether- Children’s Hospital, Miami, Florida 458, 458
Bradley, Will 282 Transbay Terminal, San Francisco 466; lands (sen-TRAHL-buh-HER, -HEER) Chillon, Château, Switzerland (SHEE-yon)
Bramante, Donato (brah-MAHN-tay) 130–3 see also Los Angeles 402, 402
branding and design 445 calligraphy see writing 115–16
Brandt House, Greenwich, Connecticut 424 Caltrans District Seven building, Los Ange- Central Lutheran Church, Portland, Oregon Chimu civilization, Peru 24, 25
Branzi, Andrea 426 les, California 466 406 China 69, 89; architecture 89–91; color 91,
Brasília Cathedral, Brazil 417 Calvin Klein store, New York 463
Braungart, Michael 444 Cambodia 86–7 Central Synagogue, New York 447 92; eclectic style 327; furniture and
Brazil: Baroque style 213–14; Cathedral, Cambridge University, Cambridge, England Centre Le Corbusier (La Maison de furnishings 92–3; houses 89–91, 92;
110, 111, 114, 422 Islamic influence 91; western influences
Brasilia 417; S. Francisco, São João del Camp Cedars, Adirondacks, New York 260 l’Homme), Zurich, Switzerland (SAHn- 93; buildings: China Central Television
Rei, Minas Gerais 213; S. Francisco de Campana, Humberto and Fernando 469 truh-luh-kawr-bue-ZYAY) 348, 400 headquarters, Beijing 445; Concert Hall,
Assis, Ouro Preto, Minas Gerais 213 Campen, Jacob van (vahn-KAHM-puhn) 194 Centre Pompidou, Paris 421, 421, 452 Shenzhen 455; Fragrant Hills Hotel,
Breuer, Marcel (BROI-uhr) 374, 375, 396, Campin, Robert 117 Century Guild 279 Xiangshan, Beijing 93, 93; Horizontal
417; and Bauhaus 336, 337, 373; fur- Canada 21; Canadian Centre for Architec- “A Century of Progress” exhibition, Chicago Skyscraper, Shenzhen 461; Liyuan
niture 337, 373, 374, 378, 392, 414; in ture, Montreal 429, 430; City Hall, (1933-4) 361 Library, Liyuan 465, 465; National
United States 387, 402, 406–7 Toronto 400; house interior, Nootka ceramics see pottery and porcelain Stadium (Bird’s Nest), Beijing 444, 444;
bricks 18, 19, 41 Sound 17; West Edmonton Mall 462 chacmool, Temple of the Warriors, Chichen Opera House, Guangzhou 449; palaces:
bridges 38, 39, 245, 371 Canadian Centre for Architecture, Montreal, Itza 23, 24 Forbidden City, Beijing 90–1, 91; temples
Britain see England; Scotland; Wales Canada 429, 430 Chadwick, Don 411 and mosques: Bo Lin Temple, Beijing 90,
British Museum, London, England 236, 464 Canadian World Exposition, Vancouver, chairs: ancient civilizations 29, 37, 46; India 91; Huajuexiang Mosque, Xi’an 91, 91;
Bronson Methodist Hospital, Kalamazoo, Canada (1986) 428 66; China 92; medieval 117, 118, 119; see also Chinese influences
Michigan 458 Canary Islands: Opera House, Tenerife 456 Renaissance: England 197, 203, 204; China Central Television headquarters,
Bronx Development Center, New York 433 Cape Cod cottages 215–16, 320–1 Italy 143, 144–5; the Netherlands 195; Beijing, China 445
Brooks, Thomas 268 Capellini furniture 470 Spain 191; Baroque and Rococo 177; Chinese influences: Dutch Renaissance 194;
Brueghel, Pieter (BROY-guhl) 193 Capilla de Vilaviciosa, Cathedral, Córdoba, French Provincial style 186; Georgian Georgian period 209, 210, 222, 233;
Brundtland Report (UN, 1987) 439 Spain 74, 74 (English) 210–11; American Colonial American Federal 231; Victorian period
Brunel, Isambard Kingdom 246 Capitol, Richmond, Virginia 224 216–17; Georgian (American) 222, 223; 253, 267; eclecticism 93, 321; see also
Brunelleschi, Filippo (broo-nuh-LES-kee) Capitol, Washington, D.C. 225–6, 226 Queen Anne (American) 222; Queen Japanese influences
126–8 Carlone, Carlo Antonio (kahr-LOH-nay) Anne (English) 205; American Federal Chippendale, Thomas 210–11
Brussels, Belgium: Horta House 288, 288; 155–6 229–30; Regency (English) 235; Gothic Christ Church, Philadelphia, Pennsylvania
Hôtel Solvay 288; Maison de Peuple Carlyle’s House, London, England 253, 253 Revival 240, 268; Shaker design 261; 222
290; Palace of Justice 323; Stoclet Carolean (Caroline) period 200–4 Victorian 265–6; Arts and Crafts 273, Christ Church, Spitalfields, London 204,
House 297–8, 298; Tassel House 288, Carolingian style 56, 57 273; Craftsman movement 281; Art 204–5
289; van Eetvelde House 288 Carpaccio, Vittore (kahr-PAHT-choh) 142–3 Nouveau 292; Jugendstil 294; Vienna Chrysler Building, New York 358, 360, 360
Bryggman, Erik (BRIG-mahn) 376–7 Carpenter, James 466 Secession 297, 299; International Style Church of the Jacobins, Toulouse, France 105
Buatta, Mario (boo-AH-tuh) 411, 413 Carpenter Center, Harvard University, Mas- 337, 340, 345; Art Deco 356, 361, 362, Church of the Light, Osaka, Japan 435,
Buddhism 77, 85, 88 sachusetts 348 365; modernist 373, 375, 378, 391, 392, 435–6, 466
Buddhist architecture 77–8, 88, 94, 95 Carpenter Gothic 240, 255, 257 393; post-war design 397–8, 399, 400, Church of the Nativity, Bethlehem, Israel 49
Building Information Modeling (BIM) 444 carpets 85, 163, 178, 194, 252, 268, 274, 357, 414; post-modern 424, 424, 427; de- Church of the Sanctuary of the Virgin of
Bulfinch, Charles 225, 226 369, 395 see also rugs constructivist 430, 431; late twentieth Guadalupe, Morelia, Mexico 212, 213
bungalows 282, 284 Carraci, Annibale (kahr-RAHT-chee) 134 century 434, 437, 468; twenty-first churches and places of worship: early
Bunshaft, Gordon (BUHN-shaft) 388, 417 Carré d’Art Gallery, Nîmes, France 422 century 468, 468, 469 Christian 49–51; Byzantine 51–2, 53–5;
Burger Grunstra 458 Carrère, John M. (kuh-RER) 312, 316 Chaitya Hall, Karle, India (Chai-TEE-yah) Romanesque 57–61; Norman 60; stave
Burne-Jones, Edward 271, 273, 274 Carson, Rachel 439 77, 77–8 churches (Finland) 60–1; Gothic 101–2,
Burnham, Daniel H. 312, 313 Carter’s Grove, Williamsburg, Virginia Chambord, Château, Loire, France (shahn- 105–12; Renaissance 125, 199–200;
Butler House, Des Moines, Iowa 367 220, 221 BAWR) 166, 167 Baroque and Rococo 175–6; Restora-
Butterfield, William 242–3 La Cartuja, sacristy, Granada, Spain (lah- Chan Chan, Peru 24, 24 tion London 200, 201–3; American
Byzantine design 49, 51–5 kahr-TOO-hah) 188, 190 Chandigarh, Punjab, India (Chan-DEE-gar) Colonial 217–18; American Federal
Byzantium see Constantinople Cartwright, Joseph 244 86, 348 228; Greek Revival 238; Gothic Revival
Casa Batlló, Barcelona, Spain (KAH-suh- Changdok Palace, Seoul, Korea 94, 94 239–40, 242–3; Art Nouveau 293, 303;
Ca d’Oro, Venice, Italy (KAH-DAWR-oh) 115 buht-YOH) 293, 293 Chareau, Pierre (shah-ROH) 375 Jugendstil 294–5; Vienna Secession
Cabinet Maker and Upholsterer’s Drawing Casa del Popolo (Casa del Fascio), Como, Charlemagne (SHAHR-luh-mayn) 56 296; eclectic style 317; modernist 331,
Italy (KAH-sah-dayl-PAW-poh-loh) Charles II, King of England 194, 200 347–8, 352–3, 374–5, 388, 389; post-
Book (Sheraton) 211 373, 373–4 Charles V, Holy Roman Emperor, King of war design 398, 400, 406, 407, 413;
The Cabinet Maker and Upholsterer’s Guide Casa Kimua, Tokyo, Japan (KAH-suh Ki- Spain 191, 193 crossover styles 435–6; twenty-first
MOO-ah) 98 Charles VIII, King of France 165 century 465–6
(Hepplewhite) 211 Casa Milà (La Pedrera), Barcelona, Spain Charnley House, Chicago, Illinois 302 Churriguera, José (choor-ree-GAY-rah) 188
Caernarvon Castle, Gwynedd, Wales (Khair- (KAH-suh-mee-LAH) 293 Chartres Cathedral, France (shahr-tr, shahrt) Churrigueresco style (choor-ree-ge-RES-koh)
Case Study House program (Arts & Architec- 102, 104, 105, 106–9, 107, 108 188–9, 213
NAR-von) 115 ture magazine) 393 Château de Maisons (Maisons Lafitte), Paris, Ciragan Palace, Istanbul, Turkey 456
Café Costes, Paris, France (kawst) 434, 434 cast iron see iron France 169, 169, 170 Cité de la Musique, Paris, France 455
Café l’Aubette, Strasbourg, France (loh-BET) Castel Béranger, Paris, France (kah-stel-bay- Château de Malmaison, Paris, France (mahl- Citicorp, New York 407
rahn-ZHAY) 291, 291–2 me-ZAWn) 183, 183–4 City Hall, Dallas, Texas 408, 432
333, 333 Castiglioni brothers (Kah-STEE-lee-o-nee) Château de Petit-Bourg, France (puh-tee- City Hall, Philadelphia, Pennsylvania 264,
cafés see restaurants 398 BOOR) 179 265
Calatrava, Santiago 452, 453, 456, 461, 466 Il Castillo, Chichen Itza, Mexico (Kah-STEE- Chauvet cave paintings, France (shoh-VAY) City Hall, Stockholm, Sweden 324, 324, 361
Calder, Alexander 388, 432 yo) 23–4, 24 13, 13 City Hall, Toronto, Canada 400
California: Blackler House, Pasadena 283; Castle, Wendell 468 Chermayeff, Serge (chuhr-MAH-yef) 361, 377 City Lab, Hobbs, New Mexico 467
Castle Drogo, Drewsteignton, Devon, Eng- chests 65–6, 143–4, 217 City Library, Viipuri, Finland 350, 350
Clos Pegase winery, Calistoga, Napa land (DROH-goh) 326, 326 Chicago, Illinois: Aqua Tower 461; Art classical civilizations see Greece, ancient;
Valley 425; Coleman House, San castles 24, 56, 61–2, 65, 115–18 Institute of Chicago 454; Auditorium Rome, ancient
Francisco 404, 406; Crystal Cathedral, Çatal Hüyük, Konya, Turkey (KAH-tal-HOO- Building 302, 302; Charnley House 302; clay tablets 19
Garden Grove 466; Disney buildings, yuk) 19, 19 Illinois Institute of Technology 340, Clear Air Act (1993) 439
Burbank 428; Eames House, Pacific cathedrals see churches 387–8; Lake Shore Drive apartments Cliff, Clarice 361
Palisades 393, 405, 447; Eames office, Catholicism 147–8, 193 388; Marshall Field Wholesale Store clocks 145, 162, 178, 186, 209–10, 222, 230
Venice 460; Egyptian theater, Hol- cave painting 13, 14 283; Monadnock Building 312–13; Cloepfil, Brad 454
lywood 321–3, 322; Facebook offices, Centennial Exhibition, Philadelphia (1876) Reliance Building 313; Robie House Clore Gallery, Tate Britain, London,
Palo Alto 459, 459; Federal Building, 256 332, 332, 453; The Rookery 313; Schil- England 423
San Francisco 442; Gamble House, Center for British Art, Yale University, New ler Building 302; Schlesinger & Meyer Clos Pegase winery, Calistoga, Napa Valley,
Pasadena 283, 284; Gehry House, Haven, Connecticut 419 Department Store 303; Transportation California 425
Santa Monica 429, 430, 430; Gibbens Center for Health Design 457 Building, Chicago Fair 303, 308; Water Clouds, Wiltshire, England 274
Residence, Venice 461, 461; Kaufmann Tower Place 462 Cluny Abbey, France (klue-NEE, KLOO-) 63
House, Palm Springs 404, 405; La Chihil Sutun pavilion, Isfahan, Iran (Chi- Coates, Wells 361, 378
Miniatura (Millard House), Pasadena HEEL SOO-tun) 71, 71 Cobb, Henry 432
383; M.H. de Young Memorial Mu- Chikatsu-Asuka Historical Museum, Osaka, Codman, Ogden 307–8
seum, San Francisco 454; Pixar offices, Japan 436
Emeryville 459; S. Carlos Borromeo,
Carmel 214; San Francisco Museum of
Modern Art 426; San Juan Capistrano

Index 487

Cogan House, East Hampton, New York 432 Cradle-to-Cradle (Braungart) 444 Design Academy Eindhoven, the Nether- eclecticism 252, 305–27, 329, 448
Coleman House, San Francisco, California The Craftsman magazine 281 lands 469 Edifices de Rome Moderne (Letarouilly) 136
Craftsman movement 271, 279–84 Edis, Robert W. (ED-is) 277
404, 406 Cragside, Rothbury, Northumberland, Eng- Design for the Real World (Papenek) 439 educational buildings see schools; universi-
collaboration in design 396–7, 446, 458, 471 Design Miami and Design Miami/Basel 469
College of William and Mary (Wren Build- land 325, 325 Design Museum, Holon, Israel 450, 451 ties and colleges
Cram, Ralph Adams 317 design training 366–7 EEA (Erick van Egeraat Associated Archi-
ing), Williamsburg, Virginia 223 Cranbrook Academy of Art, Detroit, Michi- Deskey, Donald 358, 365, 366
colleges see universities and colleges Desornamentado style 188 tects) 439
Cologne Cathedral, Germany 111 gan 317, 319 Detroit, Michigan: Cranbrook Academy Egypt: Mosque of Ibn Tulun, Cairo 70, 70–1;
Cologne Fair 469 Crane Library, Quincy, Massachusetts 283
Colombo, Joe 398 Crémieu market, Isère, France (Kre-ME-oe) of Art 317, 319; Kingswood School, see also Egypt, ancient
Colonial styles 214–18 Cranbrook 318, 319; Saarinen House, Egypt, ancient 19, 26–9; color 27–8; furni-
Colonna, Edouard (kuh-LOH-nuh) 292 114, 115 Cranbrook 318, 319
Colony Club, New York 314 Cret, Paul Phillipe (kray) 319 Deutsche Werkbund (DOI-chuh-VERK-bunt) ture and furnishings 29, 29; pyramids
color: ancient Egypt 27–8; ancient Greece Crete: Palace of King Minos, Knossos 31, 277, 285, 299, 335, 373 26, 26–7; temples 27–8, 28; tombs
Deutsche Werkstätten see Deutsche Werk- 12, 26, 29; writing 26, 27; buildings:
34; ancient Rome 44, 47; China 91, 92; 31–2 bund Anubis Tomb of Pa-schedu, Thebes
Gothic style 101–2; medieval period Crosby, Theo 402 Diderot, Denis (deed-ROH, DEE-duh-roh) 12; Great Pyramid, Giza 26; Temple of
66, 118, 119; Renaissance 125, 197; Croxton Collaborative 440 243–4 Amon, Karnak 27, 28
Baroque and Rococo style 162–3, 168, Crystal Bridges Museum of American Art, Die Wies (Pilgrimage Church of Christ Egypt, modern: library, Alexandria 455
178; Neoclassical style 182; French Em- Scourged), F¸ssen, Germany 158, 159 Egyptian theater, Hollywood, California
pire style 183; American Federal period Bentonville, Arkansas 453 Diffrient, Niels 411 321–3, 322
224, 226, 231; Victorian period 259, Crystal Cathedral, Garden Grove, California Diller Scofidio + Renfro 456, 458 Eiffel, Gustave (IGH-fuhl, e-FEL) 249
268; Arts and Crafts 274–5, 279; Crafts- Dilwara Tejapala Temple, Mount Abu, India 8 Spruce Street, New York 460
man movement 284; Art Nouveau 291; 466 80, 80 Einsiedeln, Abbey of, Zurich, Switzerland
modernist 332, 333, 334, 338, 340, 343, Crystal Palace, London, England 247, 247–8, diners 365–6, 366 (IGHN-zee-duhln) 157
345, 432; Art Deco 358, 367; late twen- dining rooms: ancient Rome 44; Georgian Einstein Tower, Potsdam, Germany (IGHN-
tieth century 419, 423; post-modern 248, 251 208; Art Nouveau 286, 290–1, 293; Vi- shtighn, -stighn) 363, 373
423, 424, 425, 426; deconstructivist Cubism 333, 341 enna Secession 298; eclectic style 308, Eisenman, Peter 425, 429–30, 431
428, 429, 430; twenty-first century Cubitt, Lewis 246 316, 318, 319; modernist 332 Elbe Philharmonic Hall, Hamburg, Germany
design 450 Cumberland Terrace, London, England Directoire style 183 455
Colorado: Anasazi villages, Mesa Verde 20, disability issues 439, 445 Eleven Madison Park, New York 457
21; Denver Art Museum, Denver 450, 234 Disney buildings, Florida, California and Elizabethan style 196–7
450; Public Library, Denver 425–6 Cumming, Rose 316, 390 Paris 425, 428, 437 Elkins, Frances 356, 390
Colosseum, Rome, Italy 41 Curtainwall House, Tokyo, Japan 436 Disney Hall, Los Angeles, California 455 Elkins, Francis 316
Columbia University Medical Center, New Cuvilliés, François (kue-ve-YAY) 160–1, 179 Dodge House, Los Angeles, California 381, Ellis, Harvey 281
York 458 Cyprus: houses, Khirokitia 18 381, 447 Ellis and Clarke 361
Columbian Exhibition, Chicago (1893) 303, Czech Republic: National Library, Prague Doge’s Palace, Venice, Italy (DOH-jiz) 152, Elveden Hall, Suffolk, England 253, 253
308 152–3 Endell, August 294
Columbus Indiana Regional Hospital, Indi- 465; Tugenhadt House, Brno 338, Dohner, Donald (DOH-nuhr) 366 Engineering Building, Leicester University,
ana 428, 428 339, 339 domes: ancient Rome 39, 41; Islamic 72; England 422
columns: ancient Greece 33–4; ancient Rome India 83; Renaissance 126–7, 128, 130, England: Romanesque (Norman) style 60,
38, 41, 42; early Christian architecture Daily Express Building, Fleet Street, London, 132–3, 141; Baroque 148, 150, 151–2, 111; Gothic style 109–11, 115; Renais-
49–51; Byzantine 52; Renaissance England 354, 361 153, 176; American Federal period 226; sance 195–204; Elizabethan and Tudor
architecture 127, 128, 133, 137–8; mod- high-tech design 421 style 196–7; Jacobean style 197–200;
ernist 349, 384; see also orders Damascus, Syria: Great Mosque 70, 70 Donghia, Angelo (DAHNG-gee-uh) 411 Carolean (Caroline) period 200–4;
Complexity and Contradiction in Architecture Danish modern style 362, 398–9 Douglas House, Harbor Springs, Michigan Baroque style 200, 204; Queen Anne
(Venturi) 423 Darby, Abraham 245 433 period 204–5; Georgian period 205–11;
computers in design 431, 438, 441, 444, D’Arcy, Barbara 414 Downing, Andrew Jackson 240, 256 Neoclassical style 206; Rococo style
449, 469 Dark Ages 55–6 Drake, Jamie 471 210; Regency period 233–5; Gothic
Concert Hall, Shenzhen, China 455 Davis, Alexander Jackson 237, 238, 240 Draper, Dorothy 316, 367, 390, 445 Revival 240–3, 252–3, 254, 271; Greek
concert halls 358, 377, 388, 399, 400–1, 402, Davis Brody Bond 454 Dresser, Christopher 275, 288 Revival 236; Industrial Revolution
409, 432, 436, 436, 454, 455 see also Day, Robin 402 Dreyfuss, Henry (DRIGH-fuhs) 364, 366, 369 211, 243–9, 252; Victorian period 251,
auditoriums; opera houses; theaters De Architectura (Vitruvius) 47 Driendl, Georg 443 252–5; Arts and Crafts movement
concrete 41, 329, 347, 348, 371, 379, 381, 383 De-architecture (Wines) 428 Droog Design 469 251, 255, 271–9, 287–8; Queen Anne
Connecticut: Brandt House, Greenwich 424; De la Portzamparc, Christian 455 du Cerceau, Jean 171 Revival 254, 255, 259; Art Nouveau
farmhouse 427, 428; Glass House, De La Warr Pavilion, Bexhill-on-Sea, Sussex, Dubai: At.mosphere, Burj Khalifa 457; Dubai 287–8; eclectic style 252, 321, 325–6;
New Canaan 380, 388, 447; Hartford Mall 462, 463; Mall of the Emirates 463 Art Deco 361, 367; modernism 355,
Seminary, Hartford 433; Manchester England 370, 377–8 Dubai Mall, Dubai 462, 463 377–9; post-war design 402; buildings:
courthouse 427; Miller House (House De Lucchi, Michele 426 Ducal Palace, Urbino, Italy 135, 135 Bodiam Castle, Sussex 115; Cambridge
III), Lakeville 429; Smith House, Darien De Menil House, East Hampton, New York Dudok, Willem M. (DUE-dawk) 372 University 114, 422; Cambridge
433; Yale University, New Haven Dufrène, Marcel (due-FREN) 356 University, Cambridge 110, 111; De La
418, 419 432, 433 Dulles Airport, Chantilly, Virginia 403 Warr Pavilion, Bexhill-on-Sea, Sussex
Conran, Terence 402 De Meuron, Pierre (Herzog and de Meuron) Dunand, Jean (due-NAHn) 356, 357 370, 377–8; Engineering Building,
Conservatorium Hotel, Amsterdam, the Dupas, Jean 357 Leicester University 422; Imperial War
Netherlands 456, 456 444 Durham Cathedral, Durham, England 60, Museum, Manchester 450; Olivetti
Constantine, Emperor 43, 49, 51 De Re Aedificatoria (Alberti) 130 60, 114 training facility, Haslemere, Surrey
Constantinople (now Istanbul) 49, 51, 52–3, De Stijl (duh-STIGHL) 332–5, 385 D’Urso, Joseph Paul (DUHR-soh) 413 422; Oxford University, Oxford 114;
55 De Stijl (magazine) 333 Dutch colonial style 214–15, 221–2 Royal Pavilion, Brighton 233, 233, 244;
Consulate style 183 De Wolfe, Elsie (duh-WULF) 314, 316 Dyckman House, New York (DIGHK-muhn) Stonehenge, Wiltshire 14, 14; Willis,
Conte de Savoia (ocean liner) (KOHN-tay-dee- Deanery Garden, Sonning, Berkshire, Eng- 221, 225 Faber and Dumas offices, Ipswich 421,
sah-VOI-ah) 327 Dymaxion designs 420 422; churches: Durham Cathedral,
Contrasts (Pugin) 241 land 325–6 Durham 60, 60, 114; Exeter Cathedral,
Conwy Castle, Conwy, Wales (KAHN-wee) The Death and Life of American Cities Eames, Charles and Ray (eemz) 392, 414, Devon 109, 109; King’s College Chapel,
115 447, 470 Cambridge 110, 111, 114; Salisbury
Cook, Peter 449 (Jacobs) 439 Cathedral, Wiltshire 109; St. Mary’s,
Coonley House, Riverside, Illinois 331, 331–2 Decatur House, Lafayette Square, Washing- Eames House, Pacific Palisades, California West Tofts, Norfolk 242; Wells Cathe-
Coop Himmelb(l)au 428, 429, 464, 467 393, 405, 447 dral, Somerset 102, 103, 109; houses:
Cooper Union Academic Building, New ton, D.C. 227–8 Belton House, Lincolnshire 203, 203;
York 464 deconstructivism 428–31, 449–50, 464 Eames office, Venice, California 460 Blenheim Palace, Oxfordshire 204,
Corcoran Gallery, Washington, D.C. 449 deconstructivism exhibition, MoMA (1988) Early English style 111 204; Castle Drogo, Drewsteignton,
Cortona, Domenico da 167 Earth Summit, Rio de Janeiro (2002) 439 Devon 326, 326; Clouds, Wiltshire 274;
Cottage Residences (Downing) 240 428–9 East-West crossover design 435–7 Cragside, Rothbury, Northumberland
Counter-Reformation (Catholic) 147–8 Decorated style 111 Eastlake, Charles Locke 256, 277 325, 325; Deanery Garden, Sonning,
County Library, Columbus, Indiana 431–2 decoration see ornament and decoration Easton, David 471 Berkshire 325–6; Elveden Hall, Suffolk
Covent Garden, London, England 462 Decoration and Furniture of Town Houses Eberson, John (EB-uhr-suhn) 321 253, 253; Fonthill Abbey, Wiltshire
Ecart International (Putman) 434–5 241, 241; Haddon Hall, Derbyshire
(Edis) 277
The Decoration of Houses (Codman) 308
Delano Hotel, South Beach, Miami, Florida

434, 434
Delaunay, Sonia 357
Delineator (magazine) 317
Delirious New York (Koolhaas) 431
Denmark 362, 398–9; Bagsvaerd Church,

Copenhagen 398; Det Kongelige
Bibliotek (“The Black Diamond”),
Copenhagen 464; Lego development of-
fices, Copenhagen 460, 460; SAS Royal
Hotel, Copenhagen 398, 398
Desert House, Santa Fe, New Mexico 461–2

488 Index

115, 115, 196, 196; Hardwick Hall, Fashion and Textile Museum, Bermondsey, France: prehistoric age 13, 14, 15; Roman- sance 125; England 197, 200, 203–4;
Derbyshire 197, 197; Hatfield House, London, England 450 esque style 59–60; Gothic style 106–9, Italy 142–5; the Netherlands 194–5;
Hertfordshire 197–8, 198; Hedingham 113–14, 115, 165; Renaissance 165, Spain 188, 191; Baroque and Rococo
Castle, Essex 62, 62; Kirtlington Park, Federal Building, San Francisco, California 167–9, 171; Baroque and Rococo styles 161–3, 176–8, 179, 180, 181; Neoclas-
Oxfordshire 205, 205; Little Moreton 442 172, 174–81; Regency style (Régence) sical 181, 182–3; French Empire style
Hall, Cheshire 115; Longleat, Wiltshire 178–9; Directoire style 183; Consulate 185; French Provincial style 186–8;
196–7; Luton Hoo, Bedfordshire 206, Federal Hall (U.S. Customs House), New style 183; Empire style 183–5, 185; Biedermeier 186–8; Georgian (English)
207; The Orchard, Chorleywood, York 237, 237 Provincial style 185–8; Industrial 209–11; American Colonial 216, 217;
Hertfordshire 278, 278; Osterley Park, Revolution 248–9; Art Nouveau 285, Georgian (American) 219, 221–2;
Middlesex 207, 207; Peckforton Castle, Federal period 224–31 287, 290–3; Beaux-Arts style 305–7; Queen Anne (American) 222, 222;
Cheshire 253; Penshurst Place, Kent Feininger, Lyonel (FEIGH-ning0uhr) 336 eclectic style 321; Art Deco 355–8; Georgian (American) 223; Americal
115; Red House, Bexleyheath, Kent feudal system 55–6, 62 modernism 355, 374–6; post-war Federal 228–31; Regency (English)
272, 273; Standen, East Grinstead, Sur- Fielding Nair 464 design 400; buildings: Bordeaux mu- 234–5; Shaker design 260, 261; Victo-
rey 274, 274–5; Stokesay Hall, Shrop- 15 Central Park, New York 462 seum 435; Café l’Aubette, Strasbourg rian 258, 260, 263, 265–9; Renaissance
shire 115; Syon House, Middlesex 206, Film Guild Cinema, New York 358 333, 333; Carré d’Art Gallery, Nîmes revival 267; Arts and Crafts 273,
207, 207; Wilton House, Wiltshire 192, Findlay, John and Hugh 229 422; Crémieu market, Isère 114, 115; 275–6, 277, 470; Craftsman movement
200; see also London Finland 324–5, 399–400, 415; chapel, Euro Disney buildings, Villiers-sur- 281; Art Nouveau 290, 290, 291, 291,
Das Englische Haus (Muthesius) 285 Marne 425, 428; Hôtel de Dieu, Beaune 292; Vienna Secession 295–6, 297, 298;
Ennead Architects 452 Otaniemi 400; City Library, Viipuri 113–14, 114; McDonald’s restaurant, eclectic style 321; International Style
environmental issues 436, 439–40, 443–4, 350, 350; Helsinki Railroad Station 295, Villefranch-de-Lauragais 457, 457; 338–9, 341, 342–3, 344–5, 349–50; Art
447, 458, 459, 461–2, 464 325; Helskini City Theater 400; houses Pont du Gard, Nîmes 39; churches: Deco 355–6, 357, 361, 362, 365, 470;
Equitable Building, Portland, Oregon 406 64, 64; Hvitträsk, Helsinki 324–5; Abbaye-aux-Hommes (S. Etienne), modernist 334, 374, 375, 378, 384,
Erectheum, Athens, Greece (i-REK-thee- Kaleva Church, Tampere 400, 400; Caen 60; Albi Cathedral 105; Amiens 386, 391–3, 393, 470; post-war design
uhm, ER-uhk-THEE-uhm) 35 Kiasma Museum, Helsinki 438, 438; Cathedral 106, 106, 109; Beauvais 398–9, 400, 402, 411, 414–15; post-
El Escorial, Madrid, Spain (el-es-kawr- Paimio Sanatorium, Paimio 349–50; Cathedral 106, 109; Chartres Cathedral modern 424, 426, 427; deconstructivist
YAHL) 188, 190 Parliament House, Helsinki 323; St. 102, 104, 105, 106–9, 107, 108; Church 430–1; late twentieth-century 436, 437;
Etruscan culture 38 John’s Cathedral, Tampere 294, 294–5; of the Jacobins, Toulouse 105; Cluny, twenty-first century 468–70; office
Euston Station, London, England 236, 237, stave churches 60–1; Temppeliaukio Abbey 63; La Madeleine, Vézelay furniture 391, 392, 410, 411, 411; er-
244 Church (Rock Church), Helsinki 466; 59, 59; La Tourette, Lyon 348; Laon gonomic design 411; see also beds and
Evans, Paul 470 Turun Sanomat building, Turku 349, Cathedral 106; Le Thoronet, Abbey bedrooms; chairs; chests; sofas
The Evelyn Grace Academy, London, 349; Villa Mairea, Noormarkku 350, 62, 62–3; Mont St. Michel, Normandy Futurama Exhibit, World’s Fair, New York
England 464 350; Vuoksenniska Church, Imatra 352, 60, 60; Notre Dame, Le Raincy 374–5, (1939) 369, 369
Exchange Building, Philadelphia, Pennsyl- 352–3, 353 375; Notre-Dame-du-Haut, Ronchamp Future Systems 465
vania 237 Finnish Pavilion, World’s Fair, New York 347, 347–8; Reims Cathedral 109; St. Futurism 372, 373
Exeter Cathedral, Devon, England 109, 109 (1939) 350–2, 351 Etienne Cathedral, Bourges 104, 104,
Exhibition of Decorative Arts, Paris (1925) Finnjet (ferry) 400 106; St. Front, Périgueux 59–60; St. Gabriel, Ange-Jacques (gah-bree-EL) 179, 181
342, 355 First Christian (Tabernacle) Church, Colum- Maclou, Rouen 106, 106; St. Martin Gaillard, Eugène (gah-YAHR) 292
exhibitions: Barcelona Exhibition (1929) bus, Indiana 388, 389, 466 du Canigou 62, 62; St. Ouen, Rouen Galerie Beyeler Museum, Basel, Switzerland
337–9; Canadian World Exposition, First Unitarian Church and School, Roches- 106; St. Philibert, Tournus 57; Ste.
Vancouver (1986) 428; Centennial ter, New York 418, 419 Foy, Conques 59, 59, 65; houses and 421
Exhibition, Philadelphia (1876) 256; Fischer, Johann Michael 158 châteaux: Ancy-le-Franc, Burgundy Gallé, Emile (gah-LAY) 291
“A Century of Progress,” Chicago Fischer von Erlach, Johann Bernhard 156–7 169, 169; Azay-le-Rideau, Loire 167, galleries see art galleries and museums
(1933-4) 361; Columbian Exhibition, Flagg, Ernest 314 167–8; Balleroy, Normandy 169; Blois, Gamble House, Pasadena, California 283, 284
Chicago (1893) 303, 308; deconstructiv- flats see houses Loire 167; Chambord, Loire 166, 167; Gang, Jeanne 461
ism exhibition, MoMA (1988) 428–9; Florence, Italy 123; buildings: Laurentian Château de Petit-Bourg 179; Jacques Gaona, Ignacio (gah-OH-nah) 214
Exhibition of Decorative Arts, Paris Library 122, 137–8; Palazzo Davanzati Coeur’s House, Bourges 118, 119; Gardner-Pingree House, Salem, Massachu-
(1925) 342, 355; Expo ‘67, Montreal 125, 125–6; Palazzo Medici-Riccardi La Brède, Bordeaux 115; Langeais,
(1967) 401–2, 421; “Good Design” ex- 128–30, 129, 134; Palazzo Vecchio 115; Château, Loire Valley 115, 116; Maison setts 230
hibitions, MoMA (1950-55) 393; Great churches: Cathedral 126, 126–7; Medici Bordeaux, Bordeaux 431, 431; Maison Gare du Quai d’Orsay, Paris (GAHR-due-ke-
Exhibition, London (1851) 246–8, Chapel (S. Lorenzo) 137, 137; Pazzi Carré, Nîmes 41, 41, 224; Masson
251; International Exhibition, London Chapel, S. Croce 128, 128; S. Lorenzo House, Nancy 286, 290–1; Pierrefonds, dawr-SE) 307, 307, 439, 439
(1862) 275; International Exhibition, 127, 127–8, 128, 137, 137; S. Maria del Picardy 115; Unité d’Habitation, Garnier, Jean-Louis Charles (gahr-NYAY)
Paris (1889) 249; International Style Fiore 112; S. Miniato al Monte 58, 58; Firminy-Vert 347, 347, 400; Unité
Exhibition, New York (1932) 336, 371, S. Spirito 127 d’Habitation, Marseilles 346, 346–7, 306, 310
373, 381; Italia ‘61, Turin (1961) 396; Florence Cathedral, Italy 126, 126–7 400; Vaux-le-Vicomte, Melun 171, 171; Gaudí, Antoni (gou-DEE) 293, 441
“No Discipline” exhibition, MoMA Florida: Children’s Hospital, Miami 458, 458; Villa Cavrois, Croix 375; Villa Savoye, Gehry, Frank 417–18, 428, 429, 430–1, 438,
(2009) 468, 468; Panama Pacific Exposi- Delano Hotel, South Beach, Miami 434, Poissy 344, 344–5
tion, San Francisco (1912) 284; Royal 434; Disney buildings, Buena Vista 441, 449, 452, 460
Show, Bristol, England (1936) 378; 425, 428, 437; Miami Art Museum, France (ocean liner) 327 Gehry House, Santa Monica, California 429,
Stockholm Exposition (1930) 361–2; Miami 454; Riverview High School, Francesco di Giorgio (frahn-CHAYS-koh-dee-
“The Un-Private House” exhibition, Sarasota 447; Swan and Dolphin 430, 430
MoMA (1999) 436; Triennale, Milan Hotels, Walt Disney World, Buena JAWR-joh) 124 General Grant style 256
(1936) 374; Weissenhof Siedlung Vista 425 Francis I, King of France 167, 169 Gensler 451, 464, 467
exhibition, Stuttgart (1927) 373; Werk- Floris, Cornelis (FLAWR-is) 193 Franconia (ocean liner) 327 Gensler corporate headquarters, Los Angeles
bundsiedlung, Vienna 373; World’s flying buttresses 104 Frank, Jean-Michel (frahnk) 356
Fair, New York (1939) 350–2, 369; Folger Shakespeare Library, Washington, Frank, Josef (frahngk) 373 451, 451
World’s Fair, Paris (1937) 375 D.C. (FOHL-juhr) 319, 319 Frankl, Paul T. (FRAHNG-kuhl) 357–8 The Gentleman and Cabinet Maker’s Director
Experience Music Project (EMP Museum), Folkets Hus, Stockholm, Sweden (FAWL- Frazee, John (fray-ZEE) 237
Seattle, Washington 449 kuhts-HUS) 399, 399 Frederick R. Weisman Art Museum, Min- (Chippendale) 210
Expert, Roger (ek-SPER) 357, 369 Folwell, John (“The American Chippendale”) George IV, King of England (Prince Regent)
Expo ‘67, Montreal (1967) 401–2, 421 222 neapolis, Minnesota 430, 438
Expressionism 363, 373 Fondazione Bagatti Valsecchi, Milan, Italy Freed, James 432 233
143 French Empire style 183–5, 185 Georgia: High Museum, Atlanta 433, 454;
F+A Architects 463 Fontaine, Pierre-François-Léonard 183, 184, French Provincial style 185–8
Fabrica Moritz, Barcelona, Spain 446, 185 French Revolution (1789) 182 Owens-Thomas House, Savannah 228
Fontainebleau, Palace (fawn-ten-BLOH, fresco painting 44, 46, 88, 125, 129, 133–5, Georgian periods 205–11, 218–23
447 FAHN-tin-bloh) 168, 168–9, 183 German Exhibit Pavilion, Barcelona Exhibi-
Facebook offices, Palo Alto, California 459, Fonthill Abbey, Wiltshire, England 241, 241 138, 139, 140
Forbidden City, Beijing, China 90–1, 91 Freyssinet, Eugène (fray-see-NE) 371 tion (1929) 337–9, 338
459 Forest Crematorium, Stockholm, Sweden 399 Front Design 468 German Pavilion, Expo ‘67, Montreal (1967)
Fallingwater, Bear Run, Pennsylvania 383, Fortress of Sacsayhuaman, Cuzco, Peru 24, 25 Fry, Maxwell 377, 378
fortresses see castles Fuller, Richard Buckminster 420–1 401, 401–2
383–4 Foster, Norman (Foster & Partners) 418, functionalism 371 Germany: Romanesque style 57–8; west-
Faneuil Hall, Boston, Massachusetts 462 421–2, 464 Furness, Frank 265, 302
Farnsworth House, Plano, Illinois 340, Foster & Partners 448, 458 furniture and furnishings: ancient civiliza- works 57–8; Gothic style 111, 119,
Fowler, Orson Squire 258 120; Baroque and Rococo styles 158–9,
340–1, 447 Fragrant Hills Hotel, Xiangshan, Beijing, tions 28–9, 44; India 85; China 92–3; 162, 179; Greek Revival 236; Deutsche
fascism 323–4, 369, 372, 374 China 93, 93 Korea 94–5; Japan 97–8, 99; medieval Werkbund 278, 285, 299, 335, 373;
61–2, 65–7, 116–18, 119–20; Renais- Jugendstil 287, 293–4; eclecticism 324;
International Style 335–9; Expression-
ism 363; industrial design 364; mod-
ernism 373; post-war design 400–2;
buildings: Altes Museum, Berlin 236;
Amalienburg, Nymphenburg Palace,
Munich 160, 161, 162, 179; Art School,
Weimar 290; Atelier Elvira, Munich
294, 294; Bauhaus, Dessau 335, 336,

Index 489

336; BMW Central Building, Leipzig The Grammar of Ornament (Jones) 268 Harrison, Peter 222 Hope, Thomas 235
449, 449; Centre for Virtual Engineer- Granada Cathedral, Spain 188, 189 Hartford Seminary, Hartford, Connecticut Horizontal Skyscraper, Shenzhen, China 461
ing, Stuttgart 450, 450; Einstein Tower, Grand Central Station, New York 312, 466 Horta, Victor (HAWR-tuh) 288, 290
Potsdam 363, 373; Elbe Philharmonic Graves, Michael 425–6 433 Horta House, Brussels, Belgium 288, 288
Hall, Hamburg 455; Hochschule für Gray, Eileen 356–7, 435 Harvard University, Massachusetts 348, 387 Horyuji Temple, Nara, Japan (Ho-REE-ooh-
Gestaltung, Ulm 401; Jewish Museum, Grcic, Konstantin 469 Hastings, Thomas 312, 316
Berlin 431, 450; Military History Mu- Great Eastern (ship) 246 Hatfield House, Hertfordshire, England jee) 96, 96
seum, Dresden 447; Museum Island, Great Exhibition, London (1851) 246–8, 247, hospitals 113–14, 175–6, 297, 349–50, 374,
Berlin 454; National Gallery, Berlin 197–8, 198
341; Philharmonic Hall, Berlin 400–1, 248, 251 Hawksmoor, Nicholas 204–5 428, 457–8
455; Reichstag, Berlin 441, 441; Res- Great Mosque, Córdoba, Spain 74, 74 Hearst Tower, New York 448, 458–9, 460 Hôtel Baudard de Saint-James, Paris (oh-tel-
idenz, Würzburg 160, 160; Schaezler Great Mosque, Damascus, Syria 70, 70 heating systems: ancient Rome 41, 47;
Palace, Augsburg 160; Schauspielhaus, Great Pyramid, Giza, Egypt 26 BOH-dar) 182
Berlin 363; Staatsgalerie, Stuttgart 422, Greece, ancient 32–8; color 34; columns 28, medieval 62, 64, 117, 118; Renaissance Hôtel d’Amelot, Paris (oh-tel-dahm-LOH) 179
422–3; Stadthaus, Ulm 433, 433; Vitra 125, 191; Georgian 209; Victorian 244, Hôtel de Carnevalet, Paris (oh-tel-duh-kahr-
Fire Station, Weil-am-Rhein 431; Vitra 33, 33–4, 34; furniture and furnishings 245, 258, 268; in green buildings 439,
Museum, Weil-am-Rhein 430; Was- 35–6, 37, 37; ornament and decoration 440, 443 nuh-vah-LE) 169, 171
serturm Hotel, Cologne 435; churches: 35, 35, 37; palace at Mycenae 32, 32; Hedingham Castle, Essex, England 62, 62 Hôtel de Dieu, Beaune, France (oh-tel-duh-
Birnau Monastery and Pilgrimage palace at Tiryns 32; “Skias,” Agora, Hedquist, Paul (HED-kvist) 377
Church 158, 158; Cologne Cathedral Athens 34, 35; temples 33–6; theaters Heerim-Mooyoung-Gensler-Yungdo 467 DYOE) 113–14, 114
111; Die Wies (Pilgrimage Church 36, 37, 37; writing 32–3; buildings: Hejduk, John 425, 436 Hôtel de Soubise, Paris (oh-tel-duh-soo-
of Christ Scourged) 158, 159; Mainz Erectheum, Athens 35; Parthenon, Helmsley Palace Hotel, New York 413
Cathedral 58, 103; Ottobeuren 158; Athens 33, 34; Stoa of Attalos, Athens Helsinki Railroad Station, Finland 295, 325 BEEZ) 179, 179
Palatine Chapel, Aachen 56, 57; Speyer 36, 36; Temple of Apollo, Bassae 35; Helskini City Theater, Finland 400 Hôtel de Sully, Paris (oh-tel-duh-suel-LEE)
Cathedral 58; St. Michael, Corvey-on- Temple of Athena Nike, Athens 35; Henningsen, Poul 362
the-Weser 57; St. Michael, Hildesheim Temple of Poseidon, Paestum 34, 35; Henri II, King of France 169 171
58, 58; Vierzehnheiligen, Pilgrimage Theater, Epidaurus 37 Henry VIII, King of England 120 Hôtel Lambert, Ile St. Louis, Paris (oh-tel-
Church, Bamberg 159, 159–60; Worms Greece, modern: New Acropolis Museum, Hepplewhite, George 211
Cathedral 58, 103; Zwiefalten 158 Athens 448 Herculaneum (huhr-kyu-LAY-nee-uhm) lahm-BER) 170, 171
Gesù, Il (Church of the Gesù), Rome, Italy Greek Revival 236–8 43–4 Hôtel Solvay, Brussels, Belgium (oh-tel-Soh-
(ell-jay-SOO) 142, 146, 148 green design 439–40, 443, 444, 459, 470, 471 Herland, Hugh 113
Getty Center, Los Angeles, California 433, Greenberg, Allan 427 Herman Miller Furniture Company 365, 391, vay) 288
437, 437–8 Greene, Charles Sumner and Greene, Henry 392–3, 411, 414–15, 470 hotels: Victorian 263; eclectic style 323,
Gibbens, Dennis 461 Mather 283–4 Herrera, Juan de (er-RER-ah) 188
Gibbens Residence, Venice, California 461, Grims Dyke, London 276 Herter Brothers 267 325; modernist 332, 388, 389, 398; Art
461 Groningen Museum, the Netherlands 429 Hertzberger, Herman (HERTS-ber-khuhr, Deco 361, 367; post-war design 407,
Gibbons, Grinling 201, 203 Gropius, Walter (GROH-pee-uhs) 317, 335–7, HUHRTS-buhr-guhr) 402 413; post-modern 425; late twentieth-
Gilbert, Cass 314 377, 378, 387, 402, 407, 417 Herzog, Jacques (Herzog and de Meuron) 444 century 434, 435; twenty-first
Gilbert, C.P.H. 320 Gropius House, Lincoln, Massachusetts Herzog and de Meuron 418, 444, 453–4, 455 century 456
Gilbert, W.S. 276 387, 387 Hickox House, Kankakee, Illinois 330–1 House and Garden (magazine) 316, 320
Gill, Irving 381, 447 Gruen, Victor 462 Hicks, David 402 House Beautiful (magazine) 316
Gimson, Ernest 277 Gruppo 7, Italy (GROOP-poh-SET-tay) 373 High Gothic style see Gothic style The House in Good Taste (De Wolfe) 314
Gingerbread style 257 Guaranty Building, Buffalo, New York 302, High Line park, New York 443 Household Furniture and Interior Decoration
Giotto (JAWT-toh, JAHT-oh) 134 303 High Museum, Atlanta, Georgia 433, 454 (Hope) 235
Girard, Alexander (juh-RAHRD) 392–3, Guarini, Guarino (gwah-REE-nee) 153–4 High Renaissance style 125, 130–6, 165, houses: prehistoric 16–17; ancient civiliza-
414–15 Guell Park, Barcelona, Spain 293 168–9, 171 tions 18–19, 20–1, 22, 24–5, 27, 28,
Girault, Charles-Louis (zhee-ROH) 306–7 Gugelot, Hans (GOO-guh-loht) 401 High School for the Performing Arts, Los 32, 36–7, 43–4; Byzantine period 55;
Glasgow School of Art, Glasgow, Scotland Guggenheim Museum, Bilbao, Spain 438, Angeles, California 464 India 79–80; China 89–91, 92; Japan
279 438, 449, 452 High-tech design 420–3, 451 97–9; medieval 64–5, 118–21; Rococo
glass 291, 293, 300–1, 356, 398, 399 see also Guggenheim Museum, New York 406, 406, High Victorian style 248, 252, 265 and Neoclassical 179–82; Dutch Renais-
mirrors; stained glass 432, 433, 449 Highpoint, Highgate, London, England sance 194–5; Georgian (English) 208–9;
Glass House, New Canaan, Connecticut 380, Guild House, Philadelphia, Pennsylvania 424 378–9, 379 American Colonial 215–16; Georgian
388, 447 Guimard, Hector (gee-MAHR) 291–2 Highway 86, Canadian World Exposition, (American) 218–22; American Federal
globalism 417, 446, 471 Gwathmey, Charles 425, 432–3 Vancouver (1986) 428 period 225, 227–8; Regency (English)
Globe Theatre, London 196 Gwathmey house, Amagansett, Long Island, Hikone, Andrea (Hee-KOH-nay) 98 233–4; Greek Revival 238; Victorian
Godwin, Edward W. 275–6 New York 432 Hilberseimer, Ludwig (HIL-buhr-sigh-muhr) 253–4, 257–60; Shaker design 260–1;
Godwin, Philip L. 386 373 Craftsman movement 282, 283–4;
Goetheanum II, Dornach, Switzerland (Goh- Habitat for Humanity 445 Hildebrandt, Lukas von (HIL-duh-brahnt) Art Nouveau 288–90, 291–2, 302–3;
TAY-nay-um) 363, 363 The Habitations of Man in All Ages (Viollet- 160 Vienna Secession 295–6, 297–8; eclectic
Gogswell, John 229 Hill House, Helensburgh, Dunbartonshire, style 320–1; International Style 330–2,
Golden Oak style 281 le-Duc) 15, 20, 27, 29, 65, 90 Scotland 270, 279 333–4, 337, 338, 339, 340–1, 342–7,
Golden section (Golden mean) 26; Mayan Haddon Hall, Derbyshire, England 115, 115, Himeji Castle, Kyoto, Japan (Hee-MAY-jee) 374, 378; Art Deco 367–9; modernist
architecture 24; Egyptian architec- 97, 97 375, 376, 378–9, 381–4, 385–6, 387,
ture 26–7; Greek architecture 33; 196, 196 Hindu architecture 77, 78, 79–80 388, 393; post-war design 395, 399,
Indonesian architecture 88; medieval Hadfield, George 238 Hinduism 79, 86, 87 400, 404, 406; high-tech design 405,
architecture 104–5; Renaissance archi- Hadid, Zaha 418, 428, 429, 431, 449, 453, 464 Hints on Household Taste (Eastlake) 256 420; post-modern 423–4, 425; decon-
tecture 131–2; modernist architecture Hadley, Albert 471 History Faculty Building, Cambridge Univer- structivist 429, 430, 431, 431; late mod-
341, 343, 348 Hagia Irene, Istanbul (HAH-gee-uh-ee-RAY- sity, England 422 ernist 432, 433; twenty-first century
Golden Temple, Amritsar, India 84–5, 85 Hitchcock, Henry-Russell 336, 371, 381 460–2; see also palaces, mansions and
Gomez, Mariette Himes 471 nuh) 55, 55 Hitchcock, Lambert 230 great houses
“Good Design” exhibitions, MoMA (1950- Hagia Sophia, Istanbul (HAH-gee-uh-soh- HKS 458 Houses of Parliament (New Palace of West-
55) 393 Hochschule für Gestaltung, Ulm, Germany minster), London 242, 242
Good Housekeeping (magazine) 317 FEE-uh, HAH-jee-) 53–5, 54, 55, 72 (HOHKH-shoo-luh-fuer-guh-SHTAHL- Howe, George 386, 418
Gore Place, Waltham, Massachusetts 225 half-timber buildings 65, 121, 196, 215 tung) 401 Hoxie House, East Sandwich, Massachusetts
Gothic Revival 238–43, 252–3, 254, 255, Hallet, Etienne (ah-LAY) 225 Hoffmann, Josef 297–8, 341, 373 (HAHK-see) 215, 215
257, 271 Hampton, Mark 411 Holden, Charles 361 Huajuexiang Mosque, Xi’an, China (HOO-ah-
Gothic style 101–18 Hampton Court Palace, England 120, 121 Holl, Steven 438, 453, 461 joo-ay-SHEE-ang) 91, 91
Governor’s Palace, Uxmal, Mexico 22, 23 Hancock Shaker Village, New York 261, 261 Holland see the Netherlands Hubbard, Elbert 282
Gowan, James 422 Handel, George Frederick 208, 210 Hollein, Hans 417, 426–7 humanism 123–4
Goya Museum, Zaragoza, Spain 454 Hannover Principles (2000) 444 Hollyhock House (Barnsdall House), Los Hungary: ING Bank, Budapest 439
Gozzoli, Benozzo (goht-TSAW-lee) 129, 134 Haraszty, Eszter (HAHR-ah-stee) 392, 414 Angeles, California 381, 382, 383 Hunt, Richard Morris 262, 307–8, 310
Grace Church, New York 239 Hardenbergh, Henry J. (HAHR-dn-buhrg) Holzer, Michael (Coop Himmelb(l)au) 464 Hvitträsk, Helsinki, Finland 324–5
Graduate Center, Harvard University, Mas- Holzinger, F.J. (HAWL-tsing-uhr) 156 Hyatt Regency hotels 456
sachusetts 387 265 Homer 32, 33 Hygiene and Electricity Pavilions, World’s
Hardouin-Mansart, Jules (ahr-dwen-mahn- The Honest House (Wood) 316 Fair, Paris (1937) 375
Hong Kong: The Peak 429; Shanghai Na- hypostyle halls 27, 79
SAHR) 172–4, 176, 181 tional Bank 422; Vuitton store 463
Hardwick, Philip 236 IBM World Trade Offices, Mount Pleasant,
Hardwick Hall, Derbyshire, England 197, 197 New York 407, 407
Hardy Holzmann Pfeiffer 447
harpsichords 144, 145, 162, 178, 195, 210 Iconoclastic Revolt, the Netherlands 193
Harris, Harwell Hamilton 385 igloos 16, 20
Illinois: Coonley House, Riverside 331,

331–2; Farnsworth House, Plano 340,
340–1, 447; Hickox House, Kankakee

490 Index

330–1; John Deere & Co. offices, China 91; influence in India 81, 83–5; Javits Convention Center, New York 432 Knoll International showroom and confer-
Moline 403–4, 404; Unity Church, Oak influence in Spain 67, 73–4, 188 Jay, William 228 ence area, New York 424
Park 331; Winslow House, River Forest Isokon (Gropius, Fry, Breuer et al.) 378 “jazz modern” 355
330, 330; see also Chicago Isola, Maija 415 Jeanneret, Charles see Le Corbusier Koch, Mogens (kohk) 362
Illinois Institute of Technology, Chicago, Isozaki, Arata 426, 437, 455 Jeanneret, Pierre (zhahn-uh-RE) 342 Koenig, Pierre 393
Illinois 340, 387–8 Israel: Church of the Nativity, Bethlehem 49; Jeckyll, Thomas 276 Kohn Pederson Fox 467
IMG offices, New York 460 Design Museum, Holon 450, 451 Jefferson, Thomas 224, 225 Det Kongelige Bibliotek (“The Black Dia-
Immeuble Clarté, Geneva, Switzerland 345 Istanbul (prev. Constantinople): buildings: Jekyll, Gertrude 326
Imperial Hotel, Tokyo, Japan 435 Topkapi Palace 72–3, 73; churches Jewish Museum, Berlin, Germany 431, 450 mond”), Copenhagen, Denmark 464
Imperial Palace, Kyoto, Japan 95–6, 96 and mosques: Blue Mosque (Mosque Jiricna, Eva 441 Koolhaas, Rem 418, 428, 431, 445
Imperial War Museum, Manchester, England of Sultan Ahmed) 72; Hagia Irene 55, John Deere & Co. offices, Moline, Illinois Korea 69, 94–5; Incheon International
450 55; Hagia Sophia 53–5, 54, 55, 72;
Inca civilization, Peru 24–5 Mosque of Suleiman 72, 72; SS. Sergius 403–4, 404 Airport 467; Yeongsan International
Incheon International Airport, Korea 467 and Bacchus 53, 53, 72; underground John Vassall House, Cambridge, Massachu- Business District, Seoul 467, 467
India 69, 77–86; domes 83; furniture and cisterns 52–3, 53 Kroll, Boris 414
furnishings 66, 85; houses 79–80; Italia ‘61 exhibition, Turin (1961) 396 setts 219 Kunsthaus, Graz, Austria 449
Islamic influences 81, 83–5; western Italianate style 256, 258 Johnson, Philip 336, 340, 371, 381, 388, 407–8, Kuramata, Shiro 426
influences 86; buildings: Chaitya Hall, Italy: Byzantine churches 51–2; Romanesque Kurskaya Metro Station, Moscow (KOOR-
Karle 77, 77–8; Chandigarh, Punjab 86, style 58; Gothic style 111–12, 115; 409, 417, 426, 428, 447, 453, 466 skuh-yuh-mee-TROH) 323
348; hypostyle hall, Madurai 79, 79; Renaissance 123–45; Baroque style Johnson Favaro 465 Kyongbok Palace, Seoul, Korea (KEE-young-
Institute of Management, Ahmedabad 142, 145, 148–55; eclectic style 321; Johnson Wax Building, Racine, Wisconsin bohk) 94, 94
419; Jama Masjid, Fatehpur Sikri 82, modernism 373–4; post-war design
83; New Delhi 86, 326; Red Fort (Palace 396–8; post-modernism 426; build- 384, 384 La Brède, Château, Bordeaux, France 115
of Lal Kila), Delhi 83–4, 84; Taj Mahal, ings: Basilica, Vicenza 139; Casa del Jones, Inigo 199–200, 208 La Farge, John (luh-FAHRZH, -FAHRJ) 283
Agra 68, 82, 83, 83; religious sites: Popolo (Casa del Fascio), Como 373, Jones, Owen 268 La Madeleine, Vézelay, France 59, 59
Ajanta caves, Maharashtra 78, 78; El- 373–4; Ducal Palace, Urbino 135, 135; Jongerius, Hella 469 La Scala, Milan, Italy (lah-SKAH-luh) 161
lora caves, Maharashtra 78, 78, 81, 81; Institut Héliothérapeutique, Lugano Josephine, Empress of France 183 La Tourette, Lyon, France 348
temples 81; Dilwara Tejapala Temple, 374; Palazzo del Tè, Mantua 138, 138, Joslyn Art Museum, Omaha, Nebraska 421–2 Laarman, Joris 468
Mount Abu 80; Elephanta Temple 78, 139; Teatro Olimpico, Vicenza 141, Jouin, Patrick 468 Labrouste, Pierre-Françcois-Henri (lah-
78; Golden Temple, Amritsar 84–5, 141; Trulli houses, Apulia 16–17; Villa Jubilee Church, Rome, Italy 466
85; Mukteswar Temple, Bhubaneswar, Barbaro, Maser 139, 140; Villa Capra Die Jugend (periodical) 293 BROOST) 248–9, 310
Orissa 81, 81; tombs: Tomb of Mahmud (Rotonda), Vicenza 140, 140; Villa Fos- Jugendstil 287, 293–5 Ladies’ Home Journal (magazine) 282
Shah, Bijapur 81, 81, 83 cari (Malcontenta), Mira 140, 140; Villa Juhl, Finn (yool) 362, 398, 399 The Ladies Home Journal (magazine) 317, 331
Indiana: Atheneum, New Harmony 433; Co- Medici, Poggio 134; churches: Arena Juillard School of Music, Lincoln Center, The Lady and the Unicorn tapestry 120
lumbus Indiana Regional Hospital 428, Chapel, Padua 134; S. Andrea, Mantua Lafever, Minard (luh-FEE-vuhr, -FEV-uhr)
428; County Library, Columbus 431–2; 130, 130; Siena Cathedral 112, 112; see New York 409, 409
First Christian (Tabernacle) Church, also names of Italian cities and towns Justinian, Emperor 52 238
Columbus 388, 389, 466 Ito, Toyo 449 Juvarra, Filippo (yoo-VAHR-rah) 154–5 Lake Flato Architects 444, 461
Indonesia 88–9 Izenour, Steven 424 Lake Shore Drive apartments, Chicago,
industrial design 363–6, 369, 413 Kagan, Vladimir 470
Industrial Revolution 211, 243–9, 252 J. Lindeberg clothing store, Stockholm, Kahn, Louis I. 86, 265, 413, 418–19, 420, Illinois 388
ING Bank, Budapest, Hungary 439 Sweden 451 Lalique, René (lah-LEEK) 292–3, 356
Institut Héliothérapeutique, Lugano, Italy 452, 453 Laloux, Victor (lah-LOO) 307
374 J. Walter Thompson offices, New York 460 Kaleva Church, Tampere, Finland (KAH-le- LaMarr Womack 464
Institute of Management, Ahmedabad, Jacob, Georges (zhah-KAWB) 183 Lamb, Thomas W. 321
India 419 Jacob-Desmalter, Françcois-Honoré-Georges vah) 400, 400 lamps 66, 99, 209, 245, 258, 268–9, 291, 301
interior design: ancient civilizations 19, 20, Kandinsky, Wassily 336 Landmarks Commission 448
36–7, 44, 46; medieval 61–2, 65–7, 185 Karlskirche, Vienna, Austria 156–7 landscape design 171, 240, 325–6, 443
115–21; Islamic and Asian 74, 75–6, Jacobean style 197–200 Kärntner Bar, Vienna, Austria 298 Langeais, Château, Loire Valley, France
85–6, 92–3, 95, 99; Renaissance 133–4, Jacobs, Jane 439 Katayama, Masamichi 463
142–5, 167–8, 169, 171–5, 176–8; Jacobsen, Arne (YAH-kawp-suhn) 398 Kaufmann House, Palm Springs, California 115, 116
Baroque and Rococo 161–3; Neoclassi- Jacquard loom 183, 231 Laon Cathedral, France (LA-oh) 106
cal 183, 184, 231, 236; Provincial style Jacques Coeur’s House, Bourges, France (KOUF-muhn) 404, 405 Larkin Building, Buffalo, New York 328, 331
185–6; Georgian 206; Victorian 244–5, Kennedy Aiport, New York 466–7 Larsen, Jack Lenor 415, 419
252, 255–61; Arts and Crafts 273–9; (zhahk-KOER) 118, 119 Kennedy Airport, New York 402–3, 404, L’Art Nouveau, Paris, France 290, 292, 300
Art Nouveau and Vienna Secession Jain architecture 78, 80 Laszlo, Paul 392
291–3, 301–3; Eclectic 314, 316–17, Jainism 80 408, 409 late modernism 431–3
329; modernist 337, 390–1, 411–14, Jama Masjid, Fatehpur Sikri, India (Jah- Kent, William 205–6 late twentieth-century design 417–41
471; Art Deco 356–7, 361, 364–5, 367; Kenwood House, London, England 207–8 Latin America 213–14
late twentieth century 417, 420, 434, MAH mas-JID) 82, 83 Kepes, Gyorgy 407 Latrobe, Benjamin (luh-TROHB) 226–8,
440, 441; twenty-first century 459, James I, King of England 197 Key, Lieven de (duh-KAY) 193
460–2, 463, 470–1 Japan 69, 95–9; baths and bathrooms 98; fur- Kiasma Museum, Helsinki, Finland 438, 438 231, 244
Interior Design magazine 414 Kiesler, Frederick (KEES-luhr) 358 Laurentian Library, Florence, Italy 122,
International Exhibition, London (1862) 275 niture and furnishings 97–8, 99; houses Kimbell Art Museum, Fort Worth, Texas
International Exhibition, Paris (1889) 249 97–9; kitchens 98–9; modernism 332; 137–8
International Interior Design Association 417 buildings: Casa Kimua, Tokyo 98; Chichu 419, 452, 453, 454 Laverne, Philip and Kelvin 470
International Style 335–53, 360, 361, 366, Art Museum, Naoshima 453; Chikatsu- King’s Chapel, Boston, Massachusetts 222, Law Faculty building, Cambridge Univer-
371, 373, 374, 377, 378, 385, 387, 417, Asuka Historial Museum, Osaka 436;
450, 459 Church of the Light, Osaka 435, 435–6, 223 sity, England 422
International Style Exhibition, New York 466; container shelter, Onagawa 445; King’s College Chapel, Cambridge, England Lawn Road Flats, Hampstead, London,
(1932) 336, 371, 373, 381 Curtainwall House, Tokyo 436; Detached
Les Invalides (Church of St. Louis), Paris, Villa, Katsura 97, 97–8; eclectic style 110, 111, 114 England 378
France 176, 176 327; gardens 96; Himeji Castle, Kyoto King’s Cross Station, London 246, 246 Le Corbusier (Charles Jeanneret) (luh-kawr-
Iowa: American Republic Insurance Com- 97, 97; Horyuji Temple, Nara 95, 96; Kingscote, Newport, Rhode Island 255, 310
pany, Des Moines 407; Art Center, Des Imperial Hotel, Tokyo 435; Imperial Kingsville school, Kingsville, Texas 464 bue-ZYAY) 36, 86, 99, 140, 335, 337,
Moines 432; Butler House, Des Moines Palace, Kyoto 95–6, 96; Kirishima Inter- Kingswood School, Cranbrook, Detroit, 341–9, 373, 374, 400, 414, 423, 432,
367; St. Paul’s Methodist Church, national Concert Hall, Aiura 436, 436; 433, 435
Cedar Rapids 303 Mediatheque, Sendai 449, 449; National Michigan 318, 319 Le Nôtre, André (luh NO-truh) 171
iron 244, 245–9, 252, 254–5, 262, 288, 290 Museum of Western Art, Tokyo 435; Kirishima International Concert Hall, Aiura, Le Thoronet, Abbey, France (luh-taw-raw-
Irving Place (Elsie de Wolfe), New York 316 Nijo Castle, Kyoto 97, 97; NTT Building, NE) 62, 62–3
ISD (Interior Space Design) 410 Tokyo 419–20; Suntory Museum, Osaka Japan 436, 436 Le Vau, Louis (luh-VOH) 171, 172
Isfahan, Iran 71; Chihil Sutun pavilion 71, 71 436; Temple of the Golden Pavilion Kirkman, Jacob 210 Learning from Las Vegas (Venturi, Scott
Islam and Islamic culture 69–77; furniture (Ginkakuji), Kyoto 96, 96; US Embassy, Kirtlington Park, Oxfordshire, England Brown and Izenour) 424
and furnishings 74, 76–7; influence in Tokyo 419; see also Japanese influences Lebrun, Charles (luh-BROE-n) 171, 172, 175
Japanese influences: Art Nouveau 287; Arts 205, 205 LED (light-emitting diode) lighting 444, 469
and Crafts movement 275–6; East-West kitchens: ancient Rome 44; Japan 98–9; me- Ledoux, Claude-Nicolas (luh-DOO) 184,
crossover 435–7; modernism 99, 331, 227, 425
383, 385, 435; Victorian dieval 64, 120; French Provincial 186; Lee, Sarah Tomerlin 413
period 256 Georgian 209; American Colonial 217, Lee Mansion, Arlington, Virginia 238
221–2; Victorian 244, 245, 268; electic Lee Mansion, Westmorland, Virginia 219,
style 320–1; Art Deco 367–8 221
Klee, Paul (klay) 336, 374 LEED (Leadership in Energy and Environ-
Kleinhans Music Hall, Buffalo, New York 388 ment design) program 443, 448, 464
Klimt, Gustav 295, 298 The Legend of St. Ursula (Carpaccio) 142, 142
Klint, Kaare 362 Lego development offices, Copenhagen,
Knoll, Florence (née Schust) 392, 403 Denmark 460, 460
Knoll, Hans 391–2
Knoll furniture 391–2, 410, 411, 414, 415,
424, 431, 470

Index 491

Legorreta, Ricardo 450 town houses 208; Arup House, High- Mainz Cathedral, Germany 58, 103 Mauretania (ocean liner) 327, 361
Leiden Town Hall, the Netherlands 193 gate 440, 441; Carlyle’s House, Chelsea Maison Bordeaux, Bordeaux, France (?PG?) Mauritshuis, The Hague, the Netherlands
Lemercier, Jacques (luh-mer-SYAY) 175 253, 253; Cumberland Terrace 234;
Leon Cathedral, Spain (LAY-ohn) 111 Grims Dyke 276; Highpoint, Highgate 431, 431 194, 194
Leonardo da Vinci 165, 167 378–9, 379; Kenwood House 207–8; Maison Carrée, Nîmes, France (me-zawn- MAXXI Museum delle Arti del XXI Secolo,
Lerner Hall, Columbia University, New Lawn Road Flats, Hampstead 378;
Lord Burlington’s villa, Chiswick 141, kah-RAY). 41, 41, 224 Rome, Italy 453
York 429 206; 1 Hyde Park 462; Park Crescent, Maison de Peuple, Brussels, Belgium (me- Mayan civilization, Mexico 21–4, 231
Les Halles Centrale, Paris, France (layz-HAll) Regent’s Park 234; Peacock Room, Maybeck, Bernard R. 284
49 Princes Gate (now in Washington, zawn duh POE-pluh) 290 Mayne, Thom 418, 464
249 D.C.) 276, 276; Queen’s House, Green- Maison de Verre, Paris, France (me-zawn- McArthur, John, Jr. 265
Les Terraces (Villa Stein-de Monzie), Paris, wich 199; Soane House 232; Straw- McBean, Thomas 222
berry Hill 241; Sun House, Hampstead duh-VER) 376, 376 McClelland, Nancy 316, 390
France (lay-te-RAHS) 343, 343 377, 377; Swan House, Chelsea 254, Majorelle, Louis (mah-yaw-REL) 291 McCobb, Paul 414
Lescaze, William (les-KAHZ) 369, 386, 417 254; office buildings: Daily Express Maki, Fumihiko 418, 436, 467 McDonald’s restaurant, Villefranche-de-
Lescot, Pierre (les-KOH) 169 Building, Fleet Street 354, 361; Lloyds Malaysia: Petronas Center, Kuala Lumpur
Letarouilly, Paul (le-tah-roo-YEE) 136 Bank offices 421; 30 St. Mary Axe Lauragais, France 457, 457
Lever House, New York 388 (“The Gherkin”) 458; palaces: Hampton 420 McDonough, William 444
Levete, Amanda (Future Systems) 468 Court Palace 120, 121; Queen’s Chapel, Mall of America, Bloomington, Minnesota McIntire, Samuel 228
Leviathan (ocean liner, previously Vaterland) St. James’s Palace 199; schools: The McKim, Charles Follen 310
Evelyn Grace Academy 464; shops and 462 McKim, Mead & White 259, 310–11, 439
327 department stores: Covent Garden 462; Mall of the Emirates, Dubai 463 McMillen, Eleanor 316
Li Xiaodong Atelier 465 Vuitton store 463, 463; state buildings: Mallet-Stevens, Robert (mah-LE) 375–6, 435 Mead, William 310 see also McKim, Mead
Liberty style 287 Banqueting House, Whitehall 199, 199; Mallet-Stevens House, Paris 375
Libeskind, Daniel 428, 431, 447, 450, 467 Houses of Parliament (New Palace of Manchester courthouse, Connecticut 427 & White
libraries: medieval 114; Renaissance 122, Westminster) 242, 242; Westminster Mannerism 136–8, 148 Mediatheque, Sendai, Japan 449, 449
Hall 113, 113; transport buildings: Eus- manor houses 115 Medici Chapel (S. Lorenzo), Florence, Italy
137–8; Baroque 157; Georgian 206; ton Station 236, 237, 244; King’s Cross Mansardic style 256
Industrial Revolution 248–9; Craftsman Station 246, 246; London Underground Mansart, François (mahn-SAHR) 169, 175 (MED-i-chee) 137, 137
movement 283; eclectic style 310–11, (subway system) 361, 378; St. Pancras mansions see palaces, mansions and great meeting houses 217–18, 238
312, 319; Art Deco 361; post-modern Station 466 megaron rooms 31, 32, 33, 34, 36
425–6; late modernist 431–2, 433; London Zoo, Regent’s Park, London 379 houses Meier, Richard 417, 425, 431, 432, 433,
twenty-first century 454, 455, 464–5 Longhena, Baldassare (lohng-Ge-nah) 152 manuscripts 66, 116
Liebes, Dorothy (LEE-buhs) 369, 414 Longleat, Wiltshire, England 196–7 maps 19, 195 437–8, 460, 461, 466
Liedet, Loyset (lyay-DE) 116–17 Lonja de la Seda (silk exchange), Valencia Marble House, Newport, Rhode Island 307 Meissonier, Juste-Aurèle (mes-awn-YAY)
lighting: medieval 62, 66–7, 117, 118; 114–15 Mare, André (mahr) 356
Renaissance 142, 145, 191; Baroque Loos, Adolf (lohs, loos) 298, 299, 317, 373, Marie Antoinette, Queen of France 180 178
and Rococo 162, 178; Georgian 209; 385 Marino, Peter 463 Melk, Abbey of, Austria 156, 156
Victorian 245, 248, 255; Arts and Crafts Lord Burlington’s villa, Chiswick, London Markelius, Sven (mahr-KAY-lee-us) 369, Memphis Group (Sottsass, Branzi, Cibis,
278; Art Deco 368–9; post-war design 141, 206
395, 396; in green buildings 439, 440, Los Angeles, California: Bradbury Building 377, 399 Zanuso et al.) 426
443; twenty-first century 444, 459, 313, 313–14; Caltrans District Seven markets 36, 43, 114–15, 249 Menai Strait suspension bridge, Wales 245–6
469, 471; types: candles 66, 99, 117, building 466; Disney Hall 455; Dodge marquetry 135, 177, 186, 229 Mendelsohn, Erich 363, 373, 377
118, 142, 145, 162, 178, 191, 209, 245; House 381, 381, 447; Gensler corporate Marshall Field Wholesale Store, Chicago, Mendini, Alessandro 426
electric 255, 269, 368–9; fluorescent headquarters 451, 451; Getty Center Menil Collection Museum, Houston, Texas
368, 395, 396; gas 233, 245, 248, 268–9; 433, 437, 437–8; High School for Illinois 283
oil 44, 66, 99, 209, 245, 268; see also the Performing Arts 464; Hollyhock Martin, J.L. 402 421, 452
lamps House (Barnsdall House) 381, 382, 383; Martini Hospital, Groningen, the Nether- Merchant’s House Museum, New York 238,
Limbourg brothers 101 Lovell House (Health House) 385, 385;
Lincoln Center for the Performing Arts, New Museum of Contemporary Art 437, lands 458 238
York 409, 448, 456 454; Our Lady of the Angels Cathedral Massachusetts Institute of Technology Mésangère, Pierre de la 185
liners see ocean liners 465, 466; Pacific Design Center (“Blue Metallurgical Research Building, Illinois
linoleum 268 Whale”) 420, 465; West Hollywood (MIT) 403
Lion Panel, Chauvet cave, France (shoh- Library 465 Massachusetts: chapel, Massachusetts Insti- Institute of Technology, Chicago, Il-
VAY) 13 Louis XII, King of France 165, 167 linois 387–8
Lippold, Richard 407 Louis XIV, King of France (The Sun King) tute of Technology 403; Crane Library, Metropolitan Museum of Art, New York
“Lipstick Building,” New York 408 169, 171, 172, 174, 178 Quincy 283; Gardner-Pingree House, 308, 390
Lisboa, Antonio Francisco (“O Aleijadinho”) Louvre Museum, Paris 416, 432 Salem 230; Gore Place, Waltham 225; Mexico: Cathedral, Mexico City 213;
(leez-BOH-ah) 213–14 Louvre Palace, Paris 169, 174, 174–5 Gropius House, Lincoln 387, 387; Church of the Sanctuary of the Virgin
Lissoni, Piero 456 Lovegrove, Ross 468 Harvard University 348, 387; Hoxie of Guadalupe, Morelia 212, 213;
Little Moreton Hall, Cheshire, England 115 Lovell House (Health House), Los Angeles, House, East Sandwich, Massachusetts Governor’s Palace, Uxmal 22, 23; Il
Lives of the Artists (Vasari) 135 California 385, 385 215, 215; John Vassall House, Cam- Castillo, Chichen Itza 23–4, 24; Palace
Livestrong Foundation offices, Austin, Low Countries see the Netherlands bridge 219; Old Ship Meeting House, of Quetzalcoatl, Teotihuacàn 21, 22; S.
Texas 444 Lubetkin, Berthold (loo-BET-kin) 378 Hingham 217, 217–18; Whipple House, José, Tepotzotl·n 213; San Cristobal Es-
Liyuan Library, Liyuan, China 465, 465 Lurçat, André (luer-SAH) 373 Ipswich 216; see also Boston tates, Mexico City 417; Temple of the
Lloyds Bank offices, London, England 421 Luther, Martin 147, 193 Masson House, Nancy, France (mah-SOHn) Inscriptions, Palenque 22, 23; Temple
locomotives 269 Luton Hoo, Bedfordshire, England 206, 207 286, 290–1 of the Warriors, Chichen Itza 23–4, 24
Loewy, Raymond (LOH-ee) 364–5, 366, Lutyens, Sir Edwin (LUHCH-uhnz; LUHT- materials: prehistoric 13–14, 15; ancient Meyer, Adolf (MIGH-uhr) 317
367, 369 yuhnz) 86, 325–6, 427 civilizations 16, 18, 19, 22, 23, Meyer, Hannes 336
London, England: art galleries, museums Lyming, Robert (LIGH-ming) 198 24–5, 26, 27, 32, 38, 39; early Christian Meyer and Holler 321
and entertainment: British Museum Lyndhurst, Tarrytown, New York 240, 240 architecture 49–50; Romanesque M.H. de Young Memorial Museum, San
236, 464; Clore Gallery, Tate Britain 57; medieval 61, 64, 65; in Islamic Francisco, California 454
423; Fashion and Textile Museum, Macdonald, Frances 279 architecture 71; Baroque and Rococo Miami Art Museum, Miami, Florida 454
Bermondsey 450; Globe Theatre Macdonald, Margaret (later Mackintosh) 279 162, 172, 176–7; French Provincial 186, Michelangelo Buonarroti 133, 136–8, 148,
196; London Zoo, Regent’s Park 379; Machu Picchu, Cuzco, Peru 25, 25 188; Dutch Renaissance 195; American 148
National Gallery 424–5; Royal Festival Mackintosh, Charles Rennie 279 Colonial 215; American Federal 226, Michelozzo di Bartolommeo (bahr-toh-lohm-
Hall 402, 403; Sackler Galleries, Royal Mackintosh, Margaret (née Macdonald) 279 228; Industrial Revolution 244, 245–9; MAY-oh) 128–30
Academy 422; Tate Modern 453–4; Mackmurdo, Arthur Heygate 278–9, 288 Victorian 251, 252, 254–5, 256, 262, Michigan see also Detroit: Bronson Method-
buildings: Bank of England 234, 234; La Madeleine, Paris 184 266, 267; Craftsman movement 283–4; ist Hospital, Kalamazoo 458; Douglas
Crystal Palace 247, 247–8, 248, 251; Maderno, Carlo 133, 148 Art Nouveau 288, 290, 291, 292, 293, House, Harbor Springs 433; Winkler-
Millennium Bridge 422; Millennium magazines 257, 293, 316, 319–20, 393, 414 300–1; Vienna Secession 296, 297–8; Goetsch House, Okemos 385
Dome 421; Paddington Waterside 421; Magistretti, Vico 398 modernist 329, 332, 334, 371, 376, 378, Mies van der Rohe, Ludwig (MEEZ-van-
churches: All Saints, Margaret Street mail order catalogs 268, 320, 321 379, 381, 383, 384, 387–8; Interna- duhr-ROH) 335, 337–41, 400, 417, 447;
242–3; Christ Church, Spitalfields 204, Maillart, Robert (mah-YAHR) 371, 374 tional Style 337, 339, 341, 342–3, 344, and Bauhaus 336, 340, 373; furniture
204–5; Restoration period 200, 201–3; 345–6, 348, 350; Art Deco 356, 358, 338–9, 341, 373, 388, 392, 414; in
St. Paul’s, Covent Garden 199–200; St. 361; post-war 395–6; high-tech 420; United States 340–1, 387–8, 402
Paul’s Cathedral 200, 201, 201–3, 202; deconstructivist 428, 430–1; late mod- Milan, Italy 123; buildings: Fondazione
St. Stephen Walbrook 201, 201; West- ernist 431–2, 433; crossover styles 433; Bagatti Valsecchi 143; La Scala 161;
minster Abbey 110, 111; houses: Adam late twentieth century 420, 429, 436, Pirelli Tower 397, 397; churches: Milan
439–40; twenty-first century 468, 469, Cathedral 112; S. Ambrogio 58, 103; S.
471; see also wood Satiro 130–1, 131
Mathsson, Bruno 362 Milan Cathedral, Italy 112
Matmata houses, Sahara, Africa 17, 17 Military History Museum, Dresden, Ger-
Matthew, R.H. 402 many 447
Maugham, Syrie (mawm) 316, 356, 367, 390
Maurer, Ingo 469

492 Index

Millbach, Pennsylvania 221, 221–2 Museum Island, Berlin 454 Governors, Santa Fe 214; S. Estevan, 360; Guaranty Building, Buffalo 302,
Millennium Bridge, London, England 422 Museum of Arts and Design, New York 454 Acoma 214; S. José, Laguna 214, 214 303; Hearst Tower 448, 458–9, 460; Le-
Millennium Dome, London, England 421 Museum of Contemporary Art, Los Angeles, New Orleans: Piazza d’Italia 426 ver House 388; 195 Broadway 314; Pan
Miller House (House III), Lakeville, Con- New York: art galleries and museums: Am Building 407; Seagram Building
California 437, 454 Guggenheim Museum 406, 406, 432, 340, 388; Singer Building 314; Tribune
necticut 429 Museum of Contemporary Furniture, 433, 449; Merchant’s House Museum Building 262–3, 308; waterfront build-
Mills, Robert 237 238, 238; Metropolitan Museum of ings 461; Western Union Building
Mindel, Lee (Shelton Mindel) 470 Ravenna, Italy 426, 427 Art 308, 390; Museum of Arts and 262–3; Woolworth Tower 314, 315;
La Miniatura (Millard House), Pasadena, Cali- Museum of Islamic Art, Doha, Qatar 453, 453 Design 454; Museum of Modern Art transport buildings: Grand Central
Museum of Modern Art (MoMA), New York (MoMA) 386, 386–7, 393, 419, 428–9, Station 312, 466; Kennedy Airport
fornia (lah-mee-nee-ah-TOO-rah) 383 436, 437, 438, 448, 448, 453, 457, 468; 402–3, 404, 408, 409, 466–7; Moynihan
Minimalism 340, 413 386, 386–7, 393, 419, 428–9, 436, 437, Schenk House, Brooklyn Museum 221; Station 466; National Airlines Terminal
Minnesota: Frederick R. Weisman Art Mu- 438, 448, 448, 453, 457, 468 September 11 Memorial Museum 454, (TWA Terminal B), Kennedy Airport
Museum of the American Revolution, Phila- 455; Whitney Museum of American 408, 409; PATH terminal 466, 466;
seum, Minneapolis 430, 438; Mall of delphia, Pennsylvania 448 Art 406, 407, 454; buildings: Hartley Pennsylvania Railroad (Penn) Station
America, Bloomington 462; Southdale museums see art galleries and museums & Graham 262; Lerner Hall, Columbia 41, 311, 311, 439, 466; TWA Terminal,
Mall, Edina 462 musical instruments 145, 195, 258 see also University 429; churches and places of Kennedy Airport 402–3, 404, 466–7
Minoan culture 31–2 harpsichords; organs; pianos worship: Central Synagogue 447, 447; New York Five (“The Whites”) 425, 429, 432
Mique, Richard (meek) 180–1 Muthesius, Hermann (moo-TAY-zee-us) 285 First Unitarian Church and School, Newson, Marc 437, 468
Miró, Joan (mee-ROH) 387, 388 Mycenaean culture 32 Rochester 418, 419; Grace Church 239; Niemeyer, Oscar 417
mirrors 145, 160, 162, 172, 178, 179, 231, 356 Myerson Symphony Hall, Dallas, Texas 432 St. Patrick’s Cathedral 239; St. Paul’s Nijo Castle, Kyoto, Japan 97, 97
Mission style 281, 282 Chapel 222; St. Peter’s Church 413, Nippur, Sumeria (ni-POOR) 19
Missouri: Nelson-Atkins Museum of Art, Nadelman, Elie 409 413; St. Thomas’s Church 317, 317; “No Discipline” exhibition, MoMA (2009)
Kansas City 453; Pulitzer Foundation Napoleon I (Napoleon Bonaparte) 176, 183, Trinity Church 239, 239; entertain- 468, 468
for the Arts, St. Louis 453 ment buildings: Film Guild Cinema Noguchi, Isamu 392, 470
mixed-use developments 446, 461, 467 185 358; Kleinhans Music Hall, Buffalo Nomadic Museum shipping container con-
The Modern, MoMA, New York 457 Nash, John 233–4, 244 388; Lincoln Center for the Performing struction 447
Modern Art Museum, Fort Worth, Texas 453 National Airlines Terminal (TWA Terminal Arts 409, 448, 456; Radio City Music Norguet, Patrick 457
Modern Builders Guide (Lafever) 238 Hall 358, 359; Ziegfeld Theater 358; Norman style 60, 111
Moderne Architektur (Wagner) 296 B), John F. Kennedy Airport, New hospitals: Columbia University Medical Normandie (ocean liner) 357, 357–8
Moderne style 355, 356, 367, 375 York 408, 409 Center 458; hotels and restaurants: North Carolina: Biltmore, Asheville 308, 309
modernism 36, 329–32, 371–9, 381–93, 395– National Assembly Building, Dhaka, Bangla- Colony Club 314; Eleven Madison Park Norton, John 254
415, 417, 441, 448, 450 see also De Stijl; desh 86, 86, 419 457; Helmsley Palace Hotel 413; The Norway: church at Torpo 61; Opera House,
International Style; late modernism National Audubon Society headquarters, Modern, MoMA 457; Morgans Hotel Oslo 455, 455; St. Andrew’s Church,
modernistic style 355, 360, 367 New York 440, 440 435, 435; Paramount Hotel 434; Royal- Borgund, Sogne Fjord 61, 61
modular system 348 National Gallery, Berlin, Germany 341 ton Hotel 434; houses: Armour-Stiner Notre Dame, Le Raincy, France (naw-truh-
Modulor I and Modulor II (Le Corbusier) 348 National Gallery, London, England 424–5 House, Irvington 258; Blakely Hall 258; DAHM) 374–5, 375
Mohenjo-Daro, Pakistan 77, 77 National Gallery of Art, Washington, D.C. Boscobel Garrison 225; Camp Cedars, Notre Dame, Paris, France 106
Moholy-Nagy, L·zlÛ 336 432, 432, 452 Adirondacks 260, 260; Cogan House, Notre-Dame-du-Haut, Ronchamp, France
Mollino, Carlo 398 National Library, Prague, Czech Republic East Hampton 432; De Menil House, (naw-truh-DAHM-due-OH) 347, 347–8
MoMA see Museum of Modern Art (MoMA), 465 East Hampton 432, 433; Dyckman Nouvel, Jean 418, 447
New York National Museum, Seoul, Korea 94–5 House 221, 225; 8 Spruce Street 460; NTT Building, Tokyo, Japan 419–20
Monadnock Building, Chicago, Illinois National Museum of Western Art, Tokyo, 15 Central Park 462; Gwathmey house,
312–13 Japan 435 Amagansett, Long Island 432; Hancock ocean liners 327, 357, 361, 365, 390, 402
monasteries and abbeys: Romanesque 57–8, National Stadium (Bird’s Nest), Beijing, Shaker Village 261, 261; Irving Place Octagon House, Washington, D.C. 226, 227
60, 67; medieval 62–4, 109, 111; Bud- China 444, 444 (Elsie de Wolfe) 316; Lyndhurst, Tar- Odyssey (Homer) 32
dhist 78; Baroque 154, 155–6, 157, 158 Native Americans 20–1 rytown 240, 240; Olana, Hudson 256, offices and office buildings: Victorian 262–3;
Monastery of St. Florian, Linz, Austria 155, Natural History Museum, Salt Lake City, 257; penthouse apartment (Shelton
155–6 Utah 452 Mindel) 470, 470; Rudolph penthouse modernist 328, 331, 364–5, 384; Art
Mondrian, Piet 333 Nazis 324, 336, 340, 363, 372, 373 apartment, Beekman Place 448, 448; Deco 358–60; post-war design 401, 402,
Moneo, Rafael 418, 454 Nebraska: Joslyn Art Museum, Omaha 421–2 Saltzman House, East Hampton 432; 403–4, 407–11; high-tech design 421,
Mongolia 16 Nelson, George 392, 410, 414, 470 Shutter House 461; Tiffany Residence 422, 422; post-modern 424, 425, 426–7;
Mont St. Michel, Normandy, France (mawn- Nelson-Atkins Museum of Art, Kansas City, 301; waterfront buildings 461; mixed- deconstructivist 428; late twentieth
sen-mee-SHEL) 60, 60 Missouri 453 use developments: Battery Park City century 435, 440, 440; twenty-first
Monticello, Charlottesville, Virginia (mahn- Nendo (Oki Sato) 468 467; Battery Park City, New York 419, century 444, 445, 448, 449, 451, 451,
ti-SEL-oh, -CHEL-oh) 141, 224, 225 Neoclassical style 147, 181–3, 184, 206, 427–8 419; Rockefeller Center 358, 359, 415, 458–60; office furniture 391, 392, 410,
Montoya, Juan 471 Neoplasticism 333 467; World Trade Center 467; office 411, 411; see also bank buildings
Moore, Charles 426 Nepvau, Pierre 167 buildings: Citicorp 407; Hearst Tower Ohio: Aronoff Center for Design and Art,
Moorish culture 67 see also Islam and Islamic Nervi, Pier Luigi (NER-vee) 396–7 448, 458–9, 460; IBM World Trade Cincinnati 430; Rosenthal Center for
culture the Netherlands: Gothic style 111; Renais- Offices, Mount Pleasant 407, 407; IMG Contemporary Art 453; Terrace Plaza
Moosbrugger, Kaspar (MOHS-brug-uhr) 157 sance 193–5; De Stijl 333–5; modernism offices 460; J. Walter Thompson offices Hotel, Cincinnati 388, 389; Wexner
Morgan Library, New York 454 372; post-war design 402; buildings: 460; Knoll International 424; Larkin Center for the Visual Arts, Ohio State
Morgans Hotel, New York 435, 435 Amsterdam Bourse (Stock Exchange) Building, Buffalo 328, 331; “Lipstick University, Columbus 429–30
Morphosis 464, 466 285, 285; Antwerp Town Hall 193; Building” 408; National Audubon Olana, Hudson, New York (oh-LAH-nuh)
Morris, Marshall, Faulkner & Co. 273 Centraal Beheer, Apeldoorn 402, 402; Society headquarters 440, 440; Olivetti 256, 257
Morris, William 271, 273–4, 277, 282, 470 Leiden Town Hall 193; Maurit- Showroom 398; parks and open spaces: Olbrich, Joseph (AWL-brikh) 295–6
mosaics 44, 46, 49, 51, 52 shuis, The Hague 194, 194; Schröder High Line 443; public buildings: Bronx Old Master Gallery, Groningen Museum, the
Moser, Karl 374, 386 House, Utrecht 333–4, 334; St. Bavo’s Development Center 433; Federal Netherlands 429
Moser, Koloman 299 Church, Haarlem 111, 111; Town Hall (U.S. Customs House) 237, 237; Old Ship Meeting House, Hingham, Mas-
Mosque of Ibn Tulun, Cairo, Egypt (I-Ibihn- Hall, Hilversum 372, 372; buildings: Javits Convention Center 432; Morgan sachusetts 217, 217–18
TOO-luhn) 70, 70–1 Conservatorium Hotel, Amsterdam Library 454; Public Library 312, 312, OLED (organic light-emitting diode) lighting
Mosque of Suleiman, Istanbul (Soo-LAY- 456, 456; Martini Hospital, Groningen 433; Rockefeller Center 358, 359, 415, 444, 469
mahn) 72, 72 458; Old Master Gallery, Groningen 467; Times Square redevelopment 455; Olin, Laurie 443
mosques 70–1, 72, 73–4 Museum 429 World Financial Center, Battery Park Olivetti Showroom, New York 398
Mount Pleasant Mansion, Fairmount Park, Neumann, Johann Balthasar (NOY-mahn) City 419, 419; schools: Cooper Union Olivetti training facility, Haslemere, Surrey,
Philadelphia, Pennsylvania 219, 219 158, 159–60 Academic Building 464; Juillard School England 422
Mount Vernon, Alexandria, Virginia 220, Neutra, Richard (NOI-truh) 373, 385–6, of Music, Lincoln Center 409, 409; Olmstead, Frederick Law 256
221 404, 417 School of Interior Design 464; shops Olympic Games buildings 431, 444, 444
movie theaters 321–3, 358 Nevada: Aureole restaurant, Las Vegas 412, and department stores: Abercrombie & OMA (Office of Metropolitan Architecture)
Moynihan Station, New York 466 413–14 Fitch 463; Bloomingdale’s 414; Calvin 431, 445
Mucha, Alphonse (MUKH-ah) 288 New Acropolis Museum, Athens, Greece 448 Klein store 463; Prada flagship store 195 Broadway, New York 314
Mudéjar style (moo-DAY-har) 188 New Brutalism 348, 402 445, 446; skyscrapers: A.T.&T. Build- 1 Hyde Park, London 462
Mukteswar Temple, Bhubaneswar, Orissa, New Delhi, India 86, 326 ing (Sony Building) 407–8, 410, 426, Open Architecture Network 464
India (mook-TESH-wahr) 81, 81 New Hampshire: Philllips Exeter Acadamy 426, 432; Chrysler Building 358, 360, open planning 388, 401, 410
Mullett, Alfred B. 265 library, Exeter 419 Opera House, Cardiff, Wales 431
murals 22, 125 see also fresco painting New Jersey: Princeton University, Princeton
Musée d’Orsay, Paris 439, 439 432
New Mexico: City Lab, Hobbs 467; Desert
House, Santa Fe 461–2; Palace of the

Index 493

Opera House, Guangzhou, China 449 Palazzo del Tè, Mantua, Italy (dayl-TAY) The Peak, Hong Kong 429 Poelzig, Hans 363
Opera House, Oslo, Norway 455, 455 138, 138, 139 Peckforton Castle, Cheshire, England 253 Pompeii 43–4, 45, 183
Opéra House, Paris 304, 306, 306 Pei, I.M. (pay) 93, 409, 413, 417, 431–2, Pont du Gard, Nîmes, France (pawn-due-
Opera House, Tenerife, Canary Islands 456 Palazzo Farnese, Rome, Italy (fahr-NAY-zay)
opera houses 302, 304, 306, 431, 449, 454, 133, 133–4, 134, 135 452, 453 GAHR) 39
Pelli, César 418, 419–20, 465 Ponti, Gio (POHN-tay) 397
455, 455, 456 see also auditoriums; Palazzo Massimo alle Colonne, Rome, Italy Pelli Clarke Pelli 466 Pope, John Russell 390, 432
concert halls; theaters (MAHS-see-moh-ahl-lay-koh-LOHN- Penn State University, Pennsylvania 424 Porta, Giacomo della (PAWR-tah) 148
The Orchard, Chorleywood, Hertfordshire, nay) 136, 136 Pennsylvania: Fallingwater, Bear Run 383, Portland Building, Portland, Oregon 425
England 278, 278 Portman, John 456
orders: classical architecture 33, 35, 38, 42, Palazzo Medici-Riccardi, Florence, Italy 383–4; Millbach 221, 221–2; Penn State Post, George B. 262
47; Renaissance 35, 47, 130, 138, 142, (MED-ee-chee-reek-KAHR-dee) 128–30, University 424; Pennsylvania Academy Post, Pieter 194
193–4; Empire style 185; American 129, 134 of Fine Arts, Philadelphia 250, 265; post and lintel construction 27
Federal period 224, 226, 227, 231; Richards Medical Research Laborato- post-modernism 423–7
Greek Revival 236, 237; Gothic Revival Palazzo Vecchio, Florence, Italy (VAY-chee- ries, University of Pennsylvania 418; Post Office Savings Bank, Vienna, Austria
240 oh) 115 see also Philadelphia
Oregon: Central Lutheran Church, Portland Pennsylvania Dutch style 221–2 296, 296–7
406; Equitable Building, Portland 406; Palladian style 140–1, 196, 199, 205–6, 219, Pennsylvania Railroad (Penn) Station, New post-war design 395–415
Portland Building, Portland 425 224, 225, 343 York 41, 311, 311, 439, 466 pottery and porcelain: ancient civilizations
organs 160, 210, 231, 256, 258 Penshurst Place, Kent, England 115
oriental influences see Chinese influences; Palladio, Andrea (puh-LAH-dee-oh) 138–41 Pentagram 402 22, 23; Dutch Renaissance 194–5;
Japanese influences Pan Am Building, New York 407 Penttilä, Timo 400 Georgian 209; oriental 231; Craftsman
ornament and decoration: ancient Greece 35, Panama Pacific Exposition, San Francisco Peplar, Marian 361 movement 282; Art Deco 361; “Ameri-
37; medieval 65, 67; Gothic 102; Ba- Percier, Charles (per-SYAY) 183, 184, 185 can Modern” tableware 365, 365
roque and Rococo 161–2; Renaissance (1912) 284 Perkins & Will 458 Powel House, Philadelphia, Pennsylvania
169, 186, 188, 193–4, 196, 204; Neoclas- Pankok, Bernhard 294 Perpendicular style 111, 120 217, 219
sical 182; Directoire style 183; Empire Pantheon, Rome, Italy 30, 42, 42 Perrault, Claude (pe-ROH) 175 Prada flagship store, New York 445, 446
style 183–4; Georgian (English) 207, Panthéon (Ste. Geneviève), Paris (pan-TAY- Perret, Auguste (pe-RAY) 374–5 Prado, Madrid, Spain 454
208, 211; Georgian (American) 218–19; Perriand, Charlotte 470 prairie houses 331
American Federal 226, 228, 229; Re- ohn) 184, 184 Perriand, Charlotte (per-YAHn) 345 Prandtauer, Jakob (PRAHN-tou-uhr) 156
gency (English) 234–5; Victorian 251–2, Panton, Verner 415 Peru 24, 25 preservation of buildings 439, 446–8, 451, 454
253, 256, 267–8; Arts and Crafts 273, Papenek, Victor 439 Peruzzi, Baldassare (pay-ROOT-tsee) 136 Primaticcio, Francesco (pree-mah-TEET-
276, 278, 279; Craftsman movement Paramount Hotel, New York 434 Le Petit Trianon, Paris, France 179–81, 180 choh) 165, 168
281; Art Nouveau 287, 288, 290, 291–2; Parc de la Villette, Paris, France 429, 429 Peto, H.A. (PEE-toh) 327 Princeton University, Princeton, New Jersey
Jugendstil 294–5; Vienna Secession Paris, France: art galleries and museums: Petronas Center, Kuala Lumpur, Malaysia 432
295–6, 297–8, 299; Art Deco 361; post- 420 Pritzker Prize 417, 430, 431, 433, 436, 444,
modern 423, 426–7; see also pattern Centre Pompidou 421, 421, 452; Louvre Philadelphia, Pennsylvania: Bank of Penn- 450, 454, 464
O’Rorke, Brian 361 Museum 416, 432; Musée d’Orsay 439, sylvania 226–7; Barnes Foundation Prix, Wolf (Coop Himmelb(l)au) 464
Østberg, Ragnar (OEST-buhrg) 324, 361 439; buildings: American Center 430; 453; Christ Church 222; City Hall 264, Probst, Robert 411
Osterley Park, Middlesex, England 207, 207 Cité de la Musique 455; Opéra House 265; Exchange Building 237; Guild Procession of the Magi (Gozzoli) 129, 129
Otis House, Boston, Massachusetts 225 304, 306, 306; Parc de la Villette 429, House 424; Mount Pleasant Mansion, Protestantism 147, 191, 193
Otto, Frei 401 429; Salon des Artistes Décorateurs Fairmount Park 219, 219; Museum of Prouvé, Jean 470
Ottobeuren, Germany(AH-toh-boe-rehn) 158 355; UNESCO Headquarters 396; the American Revolution 448; Penn- Public Library, Boston, Massachusetts 310,
Oud, J.J. 372, 373 Paris Opéra Hotel 456; churches: La sylvania Academy of Fine Arts 250, 310–11
Our Lady of the Angels Cathedral, Los Ange- Madeleine 184–5, 185; Les Invalides 265; Philadelphia Saving Fund Society Public Library, Denver, Colorado 425–6
les, California 465, 466 (Church of St. Louis) 176, 176; Notre (PSFS) Building 386, 386; Powel House Public Library, New York 312, 312, 433
Owens-Thomas House, Savannah, Georgia Dame 106; Panthéon (Ste. Geneviève) 217, 219; Second Bank of the United Public Library, Seattle, Washington 464,
228 184, 184; St. Denis, Abbey 100, 106; States 237; University of Pennsylvania 464–5
Oxford University, Oxford, England 114 Ste. Chapelle 105, 105–6; Val-de-Grâce 265, 317; Vanna Venturi House 423, Public Library, Stockholm, Sweden 464
Ozenfant, Amédée 341 175, 175–6; houses and châteaux: 423–4; Venturi House 424, 424; water- Puckersdorf Sanatorium, Vienna, Austria
Castel Béranger 291, 291–2; Château works 227; The Woodlands 225 297
Paatelainen, Raili (PAH-te-ligh-nen) 400 de Maisons (Maisons Lafitte) 169, 169, “Philadelphia Chippendale” 222 Pugin, Augustus Welby N. (PYOO-jin) 241–2
Pacific Design Center (“Blue Whale”), Los 170; Hôtel Baudard de Saint-James 182; Philadelphia Saving Fund Society (PSFS) Pulguksa Temple, Kyongju, Korea 94
Hôtel d’Amelot 179; Hôtel de Carneva- Building, Philadelphia, Pennsylvania Pulitzer Foundation for the Arts, St. Louis,
Angeles, California 420, 465 let 169, 171; Hôtel de Soubise 179, 179; 386, 386 Missouri 453
Paddington Waterside, London, England 421 Hôtel de Sully 171; Hôtel Lambert, Ile Philharmonic Hall, Berlin, Germany 400–1, Purism 341
Pahlmann, William (PAHL-muhn) 388, 391 St. Louis 170, 171; Les Terraces (Villa 455 Puritan interiors 216, 320
Paimio Sanatorium, Paimio, Finland 349–50 Stein-de Monzie) 343, 343; Maison de Philip II, King of Spain 193 Putman, Andrée 434–5
painting 13, 14, 22 see also fresco painting Verre 376, 376; Maison Suisse 345–6; Philllips Exeter Acadamy library, Exeter, Pyramid, Louvre Museum, Paris 416, 432
Pakistan 77, 86 Mallet-Stevens House 375; librar- New Hampshire 419 pyramids 22, 23–4, 26–7
Palace of Justice, Brussels, Belgium 323 ies: Bibliothèque Nationale 249, 249; Phyfe, Duncan (fighf) 228–9, 231
Palace of King Minos, Knossos, Crete (NAHS- Bibliothèque Ste. Geneviève 248, 248; Piano, Renzo 418, 421, 452, 454 Qatar: Museum of Islamic Art, Doha 453, 453
palaces: Fontainebleau 168, 168–9, 183; pianos 230–1, 252, 267 Quadracci Pavilion, Milwaukee Art Muse-
uhs) 31, 31–2 Louvre 169, 174, 174–5; Petit Trianon Piaristen Church, Vienna, Austria 160
Palace of Labor, Italia ‘61 exhibition, Turin 179–81, 180; Versailles 164, 171, 172, Piazza d’Italia, New Orleans 426 um, Milwaukee, Wisconsin 452, 452–3
172–4, 173; public spaces: Place de Pick, Frank 361 I Quattro Libri dell’Architettura (Palladio) 140
(1961) 396, 396 la Concorde (Place de Louis XV) 181; Piermarini, Giuseppe (pyer-mah-REE-nee) Queen Anne period 204–5
Palace of Quetzalcoatl, Teotihuacàn, Mexico Place Vendôme 181–2; restaurants: Café 161 Queen Anne Revival 254, 255, 259
Costes 434, 434; shops and markets: Bon Pierrefonds, Château, Picardy, France 115 Queen Elizabeth (ocean liner) 402
(keh-ZA-koh-ah-tal) 21, 22 Marché 249, 249; L’Art Nouveau (Bing) Pietilä, Reima (PEE-e-tee-lah) 400 Queen Mary (ocean liner) 361
Palace of the Governor, San Antonio, Texas 290, 292, 300; Les Halles Centrale 249; Pirelli Tower, Milan, Italy (pee-REL-lee) Queen’s Chapel, St. James’s Palace, London,
Uniqlo store 463; transport buildings: 397, 397
214 Gare du Quai d’Orsay 307, 307, 439; Pixar offices, Emeryville, California 459 England 199
Palace of the Governors, Santa Fe, New Metro (subway) 291, 292, 292 Place de la Concorde (Place de Louis XV), Queen’s House, Greenwich, London, Eng-
Paris Metro (subway), Paris, France 291, Paris France 181
Mexico 214 292, 292 Place Vendôme, Paris, France 181–2 land 199
palaces, mansions and great houses: ancient Parish, Mrs Henry (“Sister”) 390 plantation houses 217, 219, 221, 238 Quickborner Team (KVIK-bawr-nuhr,
Park Crescent, Regent’s Park, London 234 Plas Mawr, Conwy, Wales 196, 196
civilizations 20, 21, 31–2; Mayan 21, Parliament House, Helsinki, Finland 323 plastic 395–6 KWIK-) 401
22–3; medieval 61–2, 115–18; Islamic Parthenon, Athens, Greece 33, 34 Plateresco style 188, 213, 214
71, 72–3; China 90; Renaissance 124–5, Patent Building, Washington, D.C. 237 Platner, Warren 404, 414 Race, Ernest 402
128–30, 133–6, 138, 167–9, 171, 188; pattern: primitive 17–18; Islamic 69–70, 74, plumbing see water supply systems Radio City Music Hall, New York 358, 359
Baroque and Rococo 172–5, 179–81; 76–7; India 85; Arts and Crafts 273; Art plywood 266, 350, 358, 361, 376, 378, 392 radio studios 358
Elizabethan great houses 196–7; Vic- Deco 355, 357, 369; see also ornament Poblet monastery, Tarragona, Spain (poh- radios 321, 361
torian 253, 256–7, 259; eclectic style and decoration BLET) 67, 67 railroads: Industrial Revolution 244, 245;
307–8, 320, 325–6 Pavilion de l’Esprit Nouveau, Exhibition of Poelaert, Joseph 323
Palatine Chapel, Aachen, Germany 56, 57 Decorative Arts, Paris (1925) 342, 342 railroad cars 269, 365; stations: Greek
Palazzo Carignano, Turin, Italy (pah-LAHT- Pawson, John 463 Revival 236, 237; Victorian 244, 246;
tsoh-kah-ree-NYAH-noh) 153 Paxton, Joseph 246–8 Art Nouveau 292, 295; eclectic style
Palazzo Davanzati, Florence, Italy (dah- Pazzi Chapel, S. Croce, Florence, Italy 307, 311, 312, 323, 325, 439; Art Deco
vahn-TSAH-tee) 125, 125–6 (PAHT-tsee) 128, 128 361; twenty-first century 466; preser-
Peacock Room, 49 Princes Gate, London vation 439, 466; see also locomotives
(now in Washington, D.C.) 276, 276

494 Index

Rams, Dieter (rahms) 401 132, 132–3, 148–50, 149; Tempietto, S. S. Maria della Salute, Venice, Italy Schlesinger & Meyer Department Store,
Randolph, Benjamin 229 Pietro in Montorio 131–2, 132; see also (SAHN-ta-mah-REE-ah-del-lah-sah- Chicago, Illinois 303
rapid prototyping 444, 469 see also Rome, ancient LOO-tay) 152
Ratia, Armi 415 roofs 18, 19, 20, 22, 24, 27, 64, 89–90, 113, Schmidt Hammer Lassen 464
Rationalism 372 215, 216; Gambrel 221; hipped 218, S. Maria in Cosmedin, Rome, Italy (SAHN- Schnelle, Eberhard and Wolfgang 401
Ravenna, Italy 51–2; mosaics 51, 51, 52; 256, 330, 332; Mansard 169, 256, tah-mah-REE-ah-in-kohz-may-DEEN) School of Interior Design, New York 464
258, 265 50, 50 schools 318, 319, 377, 388, 390, 463–4
Museum of Contemporary Furniture The Rookery, Chicago, Illinois 313 Schröder House, Utrecht, the Netherlands
426, 427; S. Apollinare in Classe 50, 51; Rookwood Pottery, Ohio 282 S. Maria Maggiore, Rome, Italy (SAHN-tah-
S. Vitale 51, 51–2 Root, John Welborn 312, 313 mah-REE-ah-mah-JOH-ray) 50 (SHROE-duhr) 333–4, 334
Red Fort (Palace of Lal Kila), Delhi, India Rosan Bosch Studio 460 Schudi and Broadwood 210
83–4, 84 Rosenthal Center for Contemporary Art, S. Miniato al Monte, Florence, Italy (sahn- Schust, Florence see Knoll, Florence
Red House, Bexleyheath, Kent, England Ohio 453 mee-NYAH-toh) 58, 58 Sconzani, Hippolyto 156
272, 273 Rossbach, Ed 415 Scotland: Glasgow School of Art, Glasgow
Il Redentore, Venice, Italy (eel-ray-dayn- Rossetti, Dante Gabriel 275 S. Paul Outside the Walls, Rome, Italy 50
TOH-ray) 141 Rosso, Giovanni Battista (Rosso Fiorentino) S. Satiro, Milan, Italy (sahn-sah-TEE-roh) 279; Hill House, Helensburgh, Dun-
Reece High School, Tasmania, Australia 464 168 bartonshire 270, 279; tenement build-
Reformation 147, 191, 193 Roth, A. and E. 374 130–1, 131 ings, Glasgow 245; Willow Tearoom,
Regency period, England 233–5 Roux-Spitz, Michel (roo-SPITS) 355 S. Sindone, Capella della, Turin, Italy Sauchiehall Street, Glasgow 279, 280
Regency (Régence) style (France) 178–9 Royal Festival Hall, London 402, 403 Scott Brown, Denise 424
Regole delli Cinque Ordini (Vignola) 142 Royal Palace, Bangkok, Thailand 88, 88 (SAHN-tah-SEEN-doh-nay) 154, 154 Seagram Building, New York 340, 388
Reich, Lilly (righkh) 337, 373 Royal Pavilion, Brighton, England 233, S. Spirito, Florence, Italy (sahn-SPEE-ree- Sears Roebuck catalogs 268, 320
Reichstag, Berlin, Germany 441, 441 233, 244 Secession Gallery, Vienna, Austria 295, 295
Reims Cathedral, France (rens, reemz) 109 Royal Show, Bristol, England (1936) 378 toh) 127 Second Bank of the United States, Philadel-
Reliance Building, Chicago, Illinois 313 Royalton Hotel, New York 434 S. Stefano Rotondo, Rome, Italy 50 phia, Pennsylvania 237
reliquaries 65 The Roycrofters 282 S. Vitale, Ravenna, Italy (sahn-vee-TAH-lee) September 11 Memorial Museum, New York
Renaissance 35, 47, 123–45, 165, 167–9, 171, Royère, Jean 470 454, 455
188–91, 193–204 Rubens, Peter Paul 199 51, 51–2 Serlio, Sebastiano (SER-lyoh) 165, 169, 224
Renwick, James, Jr. 239–40 Rudolph, Paul 447, 448 Saarinen, Eero (SAHR-i-nen, -nuhn) 388, settlements, permanent 18–19, 31, 32
Residenz, Würzburg, Germany 160, 160 Rudolph penthouse apartment, Beekman Seven Lamps of Architecture (Ruskin) 241, 271
restaurants 279, 323, 333, 365, 388, 390, 410, Place, New York 448, 448 390, 392, 402–3, 466 Seville Cathedral, Spain 111
412, 413–14, 446, 447, 457 rugs 74, 76–7, 85, 93, 145, 195, 204, 216, Saarinen, Eliel 295, 317–19, 324–5, 362, 388, sewing machines 269
see also diners 219, 231 Seymour, John and Thomas 229
Restoration period 200 Ruhlmann, Emile-Jacques (ROOL-mahn) 390, 417, 466 Shaker design 260–1
Revell, Viljo 400 356, 470 Saarinen, Loja 325, 415 Shakespeare, William 196
Revett, Nicholas 224, 236 Ruskin, John 241, 247, 271, 273, 470 Saarinen House, Cranbrook, Detroit, Michi- Shanghai National Bank, Hong Kong 422
Rhode Island: The Breakers, Newport 307–8, Russell, Gordon 361 Shaw, Richard Norman 254–5, 276, 325
308; Kingscote, Newport 255, 310; Russia: eclecticism 323, 324; Kurskaya Metro gan 318, 319 Shelton, Peter (Shelton Mindel) 470
Marble House, Newport 307; Watts Station, Moscow 323 Sacconi, Giuseppe (sahk-KOH-nee) 323 Shelton Mindel 470
Sherman House, Newport 259, 259 Sackler Galleries, Royal Academy, London Shepley Bulfinch Richardson and Abbott 458
Richards Medical Research Laboratories, S. Ambrogio, Milan, Italy (sahn-ahm-BROH- Sheraton, Thomas 211
University of Pennsylvania 418 joh) 58, 103 422 Shingle style 259, 310
Richardson, Henry Hobson 259, 282–3, Safdie, Moshe 453 Shinto architecture 95
308, 310 S. Andrea, Mantua, Italy (sahn-ahn-DRAY- Sagrada Familia Church, Barcelona, Spain Shintoism 95
Riemerschmid, Richard (REE-muhr-shmit) ah) 130, 130 shipping-container construction 445, 445,
294 (sah-GRAH-dhah-fah-MEEL-yah) 293 447, 461
Rietveld, Gerrit (REET-velt) 333–4, 373 S. Andrea al Quirinale, Rome, Italy (sahn- Sainsbury Wing, National Gallery, London ships 246, 400 see also ocean liners
Risom, Jens (REE-sohm) 391, 414 ahn-DRAY-ah-ahl-kwee-ree-NAH-lay) shops: medieval 64–5, 114–15, 118; Georgian
Riverview High School, Sarasota, Florida 447 150, 150 424–5 209; Victorian 262; Art Nouveau 290,
Robbia, Luca della (del-uh-ROH-bee-uh) 128 Saladino, John (sal-uh-DEE-noh) 413 292, 298, 300; twenty-first century
Robie House, Chicago, Illinois 331, 332, 453 S. Apollinare in Classe, Ravenna, Italy (sahn- Salginatobel Bridge, Schiers, Switzerland 445, 446, 462–3; department stores
Robsjohn-Gibbings, T.H. 391 ah-pohl-lee-NAH-ray-een-KLAHS-say) 249, 268, 303, 414; shopping malls
Roche Dinkeloo 403–4 50, 51 (zahl-GEE-nah-toh-buhl) 371 462–3
Rockefeller Center, New York 358, 359, Salisbury Cathedral, Wiltshire, England 109 Shutter House, New York 461
415, 467 S. Carlo alle Quattro Fontane, Rome, Italy Salon des Artistes Décorateurs, Paris 355 Sidney Rogers Associates 410
Rockwell Group 456, 466 (sahn-KAHR-loh-ahl-lay-KWHT-troh- Salone Internazionale del Mobile, Milan 469 Siegel, Robert 432–3
Rococo Revival 266–7 fohn-TAH-nay) 150, 150–1, 151 salt-box houses 215 Siena Cathedral, Italy 112, 112
Rococo style 147, 165, 178–81, 210, 441 Saltzman House, East Hampton, New York Silent Spring (Carson) 439
Rogers, James Gamble 317 S. Carlos Borromeo, Carmel, California (san- silk 93, 145, 191, 200, 415
Rogers, John 258 KAHR-lohs-bawr-uh-MAY-oh) 214 433 Siloe, Diego de (see-loh-AY) 188
Rogers, Richard 418, 421, 452, 462 Salvin, Anthony 253 Singer Building, New York 314
Rohde, Gilbert (ROH-dee) 365, 391, 392 S. Costanza, Rome, Italy (SAN-tah-koh- Samurai House, Hagi, Yamaguchi Prefecture, Siren, J.S. 323
Romanesque style 49, 56–61, 102 STAHN-tsah) 50, 50 Skidmore, Owings and Merrill (SOM) 388,
Romano, Giulio (roh-MAH-noh) 138 Japan 99, 99 392, 407, 410, 467
Romanticism 235, 238–9, 241 S. Estevan, Acoma, New Mexico (sahn-e- San Cristobal Estates, Mexico City, Mexico skyscrapers: Victorian 261–3, 265; Art Nou-
Rome, ancient 38–47; baths 41; furniture and STAY-vahn) 214 veau 302; eclectic style 308, 312–14;
furnishings 44, 46; heating systems 417 modernist 340, 358–60, 388; post-war
41; temples 41–3; buildings: basilica S. Francisco, São João del Rei, Minas Gerais, San Francisco Museum of Modern Art, design 395, 403, 407; post-modern
of Maxentius 43; Baths of Caracalla 40, Brazil (sounm-frahn-SEES-koo) 213 407–8, 410, 426, 432; high-tech design
41; Baths of Diocletian 41; Colosseum California 426 422; twenty-first century 448, 458–9,
41; markets of Trajan 43; Pantheon 30, S. Francisco de Assis, Ouro Preto, Minas San Juan Capistrano Library, San Juan Cap- 460, 461
42, 42; Temple of Venus and Rome 42 Gerais, Brazil (sounm-frahn-SEES-koo- Smeets, Job (Studio Job) 469
Rome, Italy 123; buildings: MAXXI Museum dee-ah-SEES) 213 istrano, California 425 Smirke, Sir Robert 236
delle Arti del XXI Secolo 453; Palazzo San Xavier del Bac, Tucson, Arizona (sahn- Smith House, Darien, Connecticut 433
Farnese 133, 133–4, 134, 135; Palazzo S. Gallen monastery, Switzerland (sen- Smithson, Alison and Peter 402
Massimo alle Colonne 136, 136; Victor GAHL, saynt-GAWL) 57, 57–8, 157, hah-vee-ER-del-BAHK) 214 Smithsonian Institution, Washington, D.C.
Emmanuel Monument 323; churches: 157 Sanderson, John 205 240
Il Ges˙ 142, 146, 148; Jubilee Church Sangallo, Antonio, the Younger (sahng- Smythson, Robert 196
466; S. Andrea al Quirinale 150, 150; S. S. Giorgio Maggiore, Venice, Italy (sahn- Snøhetta 454, 455, 467
Carlo alle Quattro Fontane 150, 150–1, JAWR-joh-mah-JOH-ray) 141, 141 GAHL-loh) 133–4, 165 Soane, Sir John 227, 234
151; S. Costanza 50, 50; S. Ivo della Sangallo, Giuliano da (sahng-GAHL-loh) Soane House, London 232, 234
Sapienza 151, 151–2, 152; S. Maria in S. Isidoro, Leon, Spain (sahn-ee-see-DHOH- socially conscious design 439, 443, 444, 445,
Cosmedin 50, 50; S. Maria Maggiore roh) 67 134, 167 451, 471
50; S. Paul Outside the Walls 50; S. Ste- Santa Creus monastery, Spain (SAHN-tah- sofas: Biedermeier 187; American Federal
fano Rotondo 50; St. Peter’s Cathedral S. Ivo della Sapienza, Rome, Italy (sahnt- 229; Victorian 267
EE-voh-del-lah-sah-PYEN-tsah) 151, KRAY-oos) 67 Solar Tube House, Vienna, Austria 443
151–2, 152 Sant’Elia, Antonio (sahnt-AYL-yah) 373 Sonck, Lars (sohngk) 294
Sarto, Andrea del 134
S. José, Laguna, New Mexico (sahn-hoh- SAS Royal Hotel, Copenhagen, Denmark
ZAY) 214, 214
398, 398
S. José, Tepotzotlán, Mexico 213 Sato, Oki (Nendo) 468
S. Lorenzo, Florence, Italy (sahn-loh-REN- Savery, William 222
Scamozzi, Vincenzo (skah-MAWT-tsee) 224
tsoh) 127, 127–8, 128, 137, 137 Scandinavia: Romanesque style 60–1;
S. Lorenzo, Turin, Italy 153, 153–4
S, M, L, XL (Koolhaas) 431 Jugendstil 287; eclecticism 324–5;
S. Marco, Venice, Italy 48, 55 modernism 349–53, 376–7; Art Deco
S. Maria del Fiore, Florence, Italy (SAHN-ta- 361–2; post-war design 398–400;
houses 64; see also Denmark; Finland;
mah-REE-ah-del-fee—OH-ree) 112 Norway; Sweden
Scarpa, Tobia 398
Schaezler Palace, Augsburg, Germany 160
Scharoun, Hans (SHAHR-ohn) 373, 401, 455
Schauspielhaus, Berlin, Germany 363
Schenk House, Brooklyn Museum, New
York 221
Schiller Building, Chicago, Illinois 302
Schindler, Rudolph 385
Schinkel, Karl Friedrich 236

Index 495

Sony Building, New York see A.T.&T. Build- stained glass: Gothic 102, 104, 106, 109; Switzerland 115–16, 120, 157; modernism Crafts 273; Art Nouveau 288; Art Deco
ing Renaissance 125, 193; Gothic Revival 374; buildings: apartment houses, 357, 369; modernist 393, 393; post-war
239, 240, 242, 255; Arts and Crafts 273, Zurich 374; Centre Le Corbusier (La design 395, 402, 414–15; post-modern
Sottsass, Ettore 426 279; Craftsman movement 283, 284; Art Maison de l’Homme), Zurich 348, 426; see also silk; tapestries; weaving
Soufflot, Jacques-Germain (soo-FLOH) 184 Nouveau 288, 294, 297, 303; Tiffany 400; Einsiedeln, Abbey of, Zurich Thailand 88
Southdale Mall, Edina, Minnesota 462 300, 301; modernist 330, 331, 332, 157; Galerie Beyeler Museum, Basel The Breakers, Newport, Rhode Island 307–8,
space planning 410 see also open planning 347–8, 374 421; Goetheanum II, Dornach 363, 308
Spain: Romanesque style 67; Islamic/Moorish 363; Immeuble Clarté, Geneva 345; S. “The Hermitage,” Nashville, Tennessee 231
Stam, Mart (stahm) 373 Gallen monastery 57, 57–8, 157, 157; Theater, Epidaurus, Greece 37
influences 67, 73–4; Gothic style 111, Standen, East Grinstead, Surrey, England Salginatobel Bridge, Schiers 371; St. theaters: ancient Greece 36, 37; Renaissance
114–15; Baroque and Rococo styles Anthony’s Church, Basel 374; Villa 141, 196; Baroque and Rococo 147,
165; Renaissance 165, 188–91; Churri- 274, 274–5 Schwob, Chaux-de-Fonds 341, 341; 160–1, 172; Neoclassical 184; Art Deco
gueresco style 188–9; Desornamentado “starchitects” 445 Villa Turque, Chaux-de-Fonds 435 358; post-war design 400; see also am-
style 188; Mudéjar style 188; Plateresco Starck, Philippe 434 phitheaters; auditoriums; concert halls;
style 188; Art Nouveau 293; Goya State House (State Capitol), Boston, Mas- Sydney Opera House, Australia 398, 455 movie theaters; opera houses
Museum, Zaragoza 454; Prado, Madrid Syon House, Middlesex, England 206, 207, 30 St. Mary Axe (“The Gherkin”), London,
454; buildings: Guggenheim Museum, sachusetts 225 England 458
Bilbao 438, 438, 449, 452; Lonja de la Ste. Chapelle, Paris (sent-shah-PEL) 105, 207 Thomas, Seth 230
Seda (silk exchange), Valencia 114–15; Thompson, Ben 462
churches and mosques 73–4; Barcelona 105–6 Taj Mahal, Agra, India 68, 82, 83, 83 Thompson, Jim 415
Cathedral 111; Capilla de Vilaviciosa, Ste. Foy, Conques, France (sent-FWAH) 59, Talbert, Bruce 277 Thonet furniture 265–6, 266, 391
Cathedral, Córdoba 74, 74; Granada Taliesen, Spring Green, Wisconsin Thornton, William 225–6, 228, 231
Cathedral 188, 189; Great Mosque, 59, 65 Thumb, Peter 157, 158
Córdoba 74, 74; La Cartuja, sacristy, Ste. Geneviève (Panthéon), Paris (tal-ee-ES-in) 382, 383 Thun, Matteo 426
Granada 188, 190; Leon Cathedral 111; Tange, Kenzo 417, 437, 467 Tiepolo, Giovanni Battista (tee-EP-uh-loh)
Poblet monastery, Tarragona 67, 67; S. (sent,zhuhn-VYEV) 184, 184 Taniguchi, Yoshio 437, 448, 453 160
Isidoro, Leon 67; Santa Creus monas- Steen, Jan (stayn) 193 tapestries 62, 118–19, 120, 178, 191, 200 Tiffany, Louis Comfort 300–1
tery 67; Seville Cathedral 111; Toledo Steinberg, Saul 388 Taskin, Pascal (tahs-KEn) 178 Tiffany Residence, New York 301
Cathedral 111, 188–9; palaces 74, 188; Steiner, Rudolph 363 Tassel House, Brussels, Belgium (TAHS-uhl) Tihany, Adam 413–14, 457
Alhambra, Granada 75; Alhambra, Steiner House, Vienna, Austria 298 tiles, Dutch 194–5, 221
Toledo 188; El Escorial, Madrid 188, Stern, Robert A.M. 427–8, 448, 462 288, 289 Times Square redevelopment, New York 455
190; see also Barcelona Stickley, Gustav 279, 281 tatami floor mats 97, 99 Tishbein, Johann Friedrich August 162
Speer, Albert (shpayr, speer) 324 Stirling, James 417, 422–3 Tate Modern, London 453–4 Tod Williams and Associates 407
Speyer Cathedral, Germany (SHPIGH-uhr) 58 Stirling, Patrick 269 Teague, Walter Dorwin (teeg) 364, 366, Toleda, Juan Bautista de 188
SS. Sergius and Bacchus, Istanbul 53, 53, 72 Stirling Prize 464 Toledo Cathedral, Spain 111, 188–9
St. Anthony’s Church, Basel, Switzerland Stoa of Attalos, Athens, Greece 36, 36 367, 369 Tomb of Mahmud Shah, Bijapur, India 81,
374 Stockholm Exposition (1930) 361–2 Teatro Olimpico, Vicenza, Italy (tay-AH- 81, 83
St. Augustine in his Study (Carpaccio) 142–3, Stockman, Judith 410 tombs 14, 26, 29
143 Stoclet House, Brussels, Belgium (stawk-LE) troh-oh-LEEM-pee-koh) 141, 141 Tomé, Narciso (toh-MAY) 188–9
St. Bavo’s Church, Haarlem, the Netherlands technology and design 444, 468, 469, 471 Topkapi Palace, Istanbul 72–3, 73
111, 111 297–8, 298 Tecton (Lubetkin et al.) 378, 379 Toulouse-Lautrec, Henri (too-looz-loh-TREK)
St. Denis Abbey, Paris, France (sen-duh- Stokesay Hall, Shropshire, England 115 teepees 15–16, 20 288
NEE) 100, 106 Stone, Edward Durell 358, 386, 387, 454 Telford, Thomas 245 Towards a New Architecture (Le Corbusier)
St. Etienne Cathedral, Bourges, France (sen- Stonehenge, Wiltshire, England 14, 14 Tempietto, S. Pietro in Montorio, Rome 36, 342
tay-TYEN) 104, 104, 106 strapwork 169, 194, 196, 197, 198 Town, Ithiel 237, 238, 240
St. Front, Périgueux, France (sen-FRon) Stratford Hall (Lee Mansion), Westmorland, (taym-PYET-toh) 131–2, 132 Town Hall, Hilversum, the Netherlands 372,
59–60 temple houses 238 372
St. James’s Palace, London, England 199 Virginia 219, 221 Temple of Amon, Karnak, Egypt 27, 28 trabeated construction 27
St. John’s Cathedral, Tampere, Finland 294, Strawberry Hill, London 241 Temple of Apollo, Bassae, Greece 35 traditionalism 305
294–5 streamlining 365–6, 369 Temple of Athena Nike, Athens, Greece 35 Transbay Terminal, San Francisco, California
St. John’s Church, Lafayette Square, Wash- Strengell, Marianne 398, 415 Temple of Poseidon, Paestum, Greece 34, 35 466, 466
ington, D.C. 228 Strickland, William 237 Temple of the Countless Buddhas, Borobu- Transparente, Toledo Cathedral, Spain
St. Leopold am Steinhof, Vienna, Austria stripped classicism 319, 323–4, 372 (trahns-pah-REN-tay) 188–9
(saynt-LAY-uh-pawlt-ahm-SHTIGHN- Stuart, James 224, 236 dur, Indonesia 88, 89 Transportation Building, Chicago Fair 303,
hohf) 296 Stubbins, Hugh 407 Temple of the Golden Pavilion (Ginkakuji), 308
St. Louis des Invalides, Paris, France (sen- Studio Job 469 Les Trés Riches Heures du Duc de Berry 101
lwee-de-zen-vah-LEED) 176, 176 Studio O+A 459 Kyoto, Japan 96, 96 Tribune Building, New York 262–3, 308
St. Maclou, Rouen, France (sen-mah-KLOO) Stumpf, Bill 411 Temple of the Inscriptions, Palenque, Triennale, Milan (1936) 374
106, 106 stupas 78, 88, 89 Trinity Church, Boston, Massachusetts 283,
St. Martin du Canigou, monastery, France Stupinigi hunting lodge, Turin, Italy (stoo- Mexico 22, 23 283
62, 62 Temple of the Warriors, Chichen Itza, Trinity Church, New York 239, 239
St. Mary’s, West Tofts, Norfolk, England 242 pee-NEE-jee) 154, 154–5, 155 Triple Five Group 462
St. Michael, Corvey-on-the-Weser, Germany Subes, Raymond 357 Mexico 23–4, 24 trompe-l’oeil 44, 135
57 subway systems: Kurskaya Metro, Moscow Temple of Venus and Rome, Rome, Italy 42 True Principles of Pointed or Christian Archi-
St. Michael, Hildesheim, Germany 58, 58 temples 22–4, 27–8, 33–6, 41–3 tecture (Pugin) 241
St. Ouen, Rouen, France (sen-OO-ahn) 106 323; London Underground 361, 378; Temppeliaukio Church (Rock Church), Hel- Trulli houses, Apulia, Italy (TROO-lee) 17
St. Pancras Station, London 466 Paris Metro 291, 292, 292 Tschumi, Bernard 428, 429, 448
St. Patrick’s Cathedral, New York 239 Süe, Louis (sue) 356 sinki, Finland 466 Tsien, Billie 453
St. Paul’s, Covent Garden, London 199–200 Sullivan, Louis 265, 283, 301–3, 307, 308, Tennessee: State Capital, Nashville 237; “The Tudor Place, Georgetown, Washington,
St. Paul’s Cathedral, London 200, 201, 313, 329–30 D.C. 226
201–3, 202 Sumeria, Mesopotamia 19–20 Hermitage,” Nashville 231 Tudor style 196
St. Paul’s Chapel, New York 222 Sun House, Hampstead, London 377, 377 Tennessee Valley Authority (TVA) 366, 414 Tugenhadt House, Brno, Czech Republic
St. Paul’s Methodist Church, Cedar Rapids, Sunar Furniture Company showroom, Hou- Teotihuacàn, Mexico (TAY-o-tee-wa-kahn) 338, 339, 339
Iowa 303 ston, Texas 425, 425 Turin, Italy: Palazzo Carignano 153; S. Lor-
St. Peter’s Cathedral, Rome 132, 132–3, Suntory Museum, Osaka, Japan 436 21, 22 enzo 153, 153–4; S. Sindone, Capella
148–50, 149 Suomalainen, Timo and Tuomo 466 Terrace Plaza Hotel, Cincinnati, Ohio 388, 154, 154; Stupinigi hunting lodge
St. Peter’s Church, New York 413, 413 Superga, church and monastery, Turin, Italy 154, 154–5, 155; Superga, church and
St. Philibert, Tournus, France (sen-fee-lee- (SOO-payr-gah) 154 389 monastery 154
BER) 57 sustainability issues 439, 443–4, 447, 459, Terragni, Giuseppe (ter-RAH-nyee) 373 Turkey 72; Çatal Hüyük, Konya 19, 19;
St. Stephen, Vienna, Austria 111 460, 461, 463, 464, 470, 471 Terry, Eli 230 Ciragan Palace, Istanbul 456
St. Stephen Walbrook, London 201, 201 Swan and Dolphin Hotels, Walt Disney Testa, Angelo 415 Turning Torso, Malmo, Sweden 461
St. Thomas’s Church, New York 317, 317 World, Buena Vista, Florida 425 Texas: Amon Carter Museum, Fort Worth Turun Sanomat building, Turku, Finland
Staatsmuseum, Stuttgart, Germany 422, Swan House, London 254, 254 (TOO-roon-SAH-noh-maht) 349, 349
422–3 Swanson, Robert F. 390 453; City Hall, Dallas 408, 432; Kimbell Tutankhamen, tomb goods 29, 29
Stadthaus, Ulm, Germany 433, 433 Sweden 361–2, 377, 399; City Hall, Stock- Art Museum, Fort Worth 419, 452,
stage design 147, 199 holm 324, 324, 361; Folkets Hus, Stock- 453, 454; Kingsville school, Kingsville
holm 399, 399; Forest Crematorium, 464; Livestrong Foundation offices,
Stockholm 399; J. Lindeberg clothing Austin 444; Menil Collection Mu-
store, Stockholm 451; Public Library, seum, Houston 421, 452; Modern Art
Stockholm 464; Turning Torso, Malmo Museum, Fort Worth 453; Myerson
461 Symphony Hall, Dallas 432; Palace
Swedish modern style 361 of the Governor, San Antonio 214;
Swiczinksy, Helmut (Coop Himmelb(l)au) 464 Sunar Furniture Company showroom,
Houston 425, 425
textiles: ancient civilizations 17–18, 25, 29;
medieval 66, 116, 117; Renaissance
145, 191, 197, 200, 204; Baroque and
Rococo 163; French Empire 183–4;
French Provincial 188; American Fed-
eral 231; Victorian 252, 267; Arts and

496 Index

TWA Terminal, Kennedy Airport, New York Venturi House, Philadelphia, Pennsylvania wall coverings: textiles 163, 183, 231, 278; Willow Tearoom, Sauchiehall Street, Glas-
402–3, 404, 466–7 424, 424 wallpaper 92–3, 178, 183–4, 219, 231, gow, Scotland 279, 280
268, 273, 278
twenty-first century design 442–71 Vermeer, Jan 193, 195 Wills, Royal Barry 320–1
Tynagel, Nynke (Studio Job) 469 Veronese, Paulo (vay-roy-NAY-zay) 140, 153 wall painting see fresco painting Wilson, Elsie Cobb 316
Versailles, Palace, Paris, France 164, 171, Walpole, Horace 241 Wilton House, Wiltshire, England 192, 200
Ukraine: mammoth-bone structures, Mezhir- Wanders, Marcel 469 windows 61, 64, 116, 117, 121, 182, 216 see
ich 18, 18 172, 172–4, 173 Wank, Roland (wahngk) 366, 414
Versen, Kurt (VUHR-suhn) 369 Warnecke, John Carl (WAWR-ni-kee) 410 also stained glass
“The Un-Private House” exhibition, MoMA Victor Emmanuel Monument, Rome, Italy Warren, Whitney 312 Wines, James (SITE Projects) 428
(1999) 436 Washington, D.C.: Capitol 225–6, 226; Winkler-Goetsch House, Okemos, Michigan
323
UNESCO Headquarters, Paris 396 Victoria, Queen of England 241, 251, 269 Corcoran Gallery 449; Decatur House, 385
Union Station, Washington, D.C. 439 Victorian period 251–69 Lafayette Square 227–8; Folger Winslow House, River Forest, Illinois 330,
Uniqlo store, Paris 463 Vienna, Austria: Austrian Travel Bureau Shakespeare Library 319, 319; National
Unité d’Habitation, Firminy-Vert, France Gallery of Art 432, 432, 452; Octagon 330
office 426–7; Karlskirche 156–7, 157; House 226, 227; Patent Building 237; Wisconsin: Johnson Wax Building, Racine
(ue-nee-TAY-dah-bee-tah-SYAWn) Kärntner Bar 298; Piaristen Church Smithsonian Institution 240; St. John’s
347, 347, 400 160; Post Office Savings Bank 296, Church, Lafayette Square 228; Tudor 384, 384; Quadracci Pavilion, Mil-
Unité d’Habitation, Marseilles, France 346, 296–7; Puckersdorf Sanatorium 297; Place, Georgetown 226; Union Station waukee Art Museum, Milwaukee 452,
346–7, 400 rooftop apartment 429; Secession 439 452–3; Taliesen, Spring Green 382, 383
United States: Colonial style 214–18; Geor- Gallery 295, 295; Solar Tube House Washington, George 221, 225 Wolfson, Philip Michael 468
gian period 218–23; Queen Anne style 443; St. Leopold am Steinhof 296; St. Washington State: Experience Music Project Woltz, Thomas 443
and revival 222, 255, 256, 259; Greek Stephen 111; Steiner House 298; Upper (EMP Museum), Seattle 449; Public Wonderwall 463
Revival 236–8; Gothic Revival 238–40, Belvedere Palace 160; Villa Friedmann Library, Seattle 464, 464–5 wood: in buildings: ancient civilizations 16,
255, 257; Victorian style 255–65; 295, 296 Wasserturm Hotel, Cologne, Germany 435 18, 20, 22–3, 24; ancient Greece 33;
Craftsman movement 271, 279–84; Art Vienna Secession 287, 295–9, 329 waste disposal see water supply systems Romanesque 57, 60–1; Scandinavian
Nouveau 282, 299–303; eclecticism Vienna Werkstätte 297, 299 Wat Phra Sri Sanphet, Ayutthaya, Thailand churches 60–1; medieval 65, 121; India
307–23; Beaux-Arts style 307–14, 319, Vierzehnheiligen, Pilgrimage Church, 88, 88 77; Tudor 196; American Colonial 215,
381, 390; modernism 326–32, 340–1, Bamberg, Germany (FEER-tsayn-HIGH- Wat Suwannaram, Thom buri, Thailand 88 216; Gothic Revival 240; modernist
379, 381–93; Art Deco 358–61, 367; li-guhn) 159, 159–60 water supply systems: ancient Rome 39, 350; Art Deco 362; furniture: China
post-war design 402–15; East-West Vignelli, Masimo and Lella 413 46; Byzantine 52–3; medieval 65; 92; medieval 118; Baroque and Rococo
crossover 436–7; see also names of cit- Vignola, Giacomo (vee-NYAW-lah) 142, 148 Renaissance 124; Georgian 207, 208–9; 176–7, 195; French Provincial 186;
ies and states; New York Vignon, Alexandre-Pierre (vee-NYAn) 185 Victorian 244–5, 258; and industrial Tudor and Jacobean 197, 200; William
United States Pavilion, Expo ‘67, Montreal Villa Barbaro, Maser, Italy (BAHR-bah-roh) design 366 and Mary 204; Georgian 210, 211;
(1967) 420, 421 139, 140 Water Tower Place, Chicago, Illinois 462 American Colonial and Federal 216,
Unity Church, Oak Park, Illinois 331 Villa Capra (Rotonda), Vicenza, Italy 140, 140 Watt, James 244 222, 228; Regency (English) 234; Art
universities and colleges: Gothic 110, 111, Villa Cavrois, Croix, France 375 Watts Sherman House, Newport, Rhode Deco 356, 357, 358; interiors: carving
114; Georgian (American) 223, 224; Villa Foscari (Malcontenta), Mira, Italy Island 259, 259 118, 120, 125, 201, 203; marquetry
Victorian 265; eclectic style 317, (FOH-skah-ree) 140, 140 weaving: ancient civilizations 17–18, 20, 135; paneling 118, 119, 120, 194, 195,
319; modernist 348, 352, 377, 387–8; Villa Friedmann, Vienna, Austria 295, 296 21, 25, 29; Renaissance 145, 204; 196, 197, 204, 218, 231, 274; see also
post-war design 399–400, 409; high- Villa Mairea, Noormarkku, Finland (MIGH- Baroque and Rococo 163; and the In- plywood
tech design 422; post-modern 424; ray-ah) 350, 350 dustrial Revolution 183, 231, 244, 252 Wood, Ruby Ross 316, 390
deconstructivist 429–30; late modernist Villa Medici, Poggio, Italy (MED-i-chee) 134 Webb, John 200 Woolworth Tower, New York 314, 315
433, 435 Villa Savoye, Poissy, France (sah-VWAH) Webb, Philip 273, 274–5 The Works in Architecture of Robert and
University of Pennsylvania, Philadelphia, 344, 344–5 Weber, Kem 365 James Adam 206–7
Pennsylvania 265, 317 Villa Schwob, Chaux-de-Fonds, Switzerland Wedgwood, Josiah 209 Works Progress Adminstration (WPA) 319,
University of Virginia, Charlottesville, (shvohb) 341, 341 Weissenhof Siedlung exhibition, Stuttgart 366
Virginia 224 Villa Turque, Chaux-de-Fonds, Switzerland (1927) (VIGH-suhn-hohf-ZEED-lung) World Financial Center, Battery Park City,
UNStudio 450 435 373 New York 419, 419
Upjohn, Richard 239 Villas and Cottages (Vaux) 256–7 Wells Cathedral, Somerset, England 102, World Trade Center, New York 467
Upper Belvedere Palace, Vienna, Austria 160 Viollet-le-Duc, Eugène-Emmanuel (vyaw-le- 103, 109 World’s Fair, New York (1939) 350–2, 369
Urban, Joseph 358, 448 luh-DUEK) 15, 20, 27, 29, 65, 90, 115 Werkbundsiedlung, Vienna (VERK-bunt- World’s Fair, Paris (1937) 375
Urquiola, Patricia 469 Virginia: Capitol building, Richmond 224; zeed-lung) 373 Wormley, Edward 391, 414
US Embassy, Tokyo 419 Carter’s Grove, Williamsburg 220, West Edmonton Mall, Canada 462 Worms Cathedral, Germany 58, 103
Usonian house design 385 221; College of William and Mary West Hollywood Library, Los Angeles, WPA style 319
Utah: Natural History Museum, Salt Lake (Wren Building), Williamsburg 223; California 465 Wren, Christopher 200–3
City 452 Dulles Airport, Chantilly 403; Lee Western Union Building, New York 262–3 Wren’s City Churches (Mackmurdo) 279
Utzon, Jørn (OOT-sawn) 398, 418, 455 Mansion, Arlington 238; Lee Mansion, Westminster Abbey, London 110, 111 Wright, Frank Lloyd 301, 302, 303, 313,
Westmorland 219, 221; Monticello, Westminster Hall, London 113, 113 349, 406, 417, 428, 433, 449, 453; early
Val-de-Grâce, Paris, France (Vahl-duh-grahs) Charlottesville 141, 224, 225; Mount Wetmore, Charles D. 312 phase 329–32, 333; Japanese influences
175, 175–6 Vernon, Alexandria 220, 221; Stratford Wexner Center for the Visual Arts, Ohio 99, 331, 383, 385, 435; later phase
Hall (Lee Mansion), Westmorland 219, State University, Columbus, Ohio 381–5
Vallin, Eugène (vah-LEn) 290–1 221; University of Virginia, Charlottes- 429–30 Wright, Russel 365
van Alen, William 358, 360 ville 224 Whig Hall, Princeton University, Princeton, Wriothesley manuscript (RIGH-uhth-slee) 66
Van de Velde, Henri (vahn-duh-VEL-duh) 290 Vitra Fire Station, Weil-am-Rhein, Germany New Jersey 432 writing: hieroglyphic 26, 27; ancient Greece
van Doesburg, Theo 333 431 Whipple House, Ipswich, Massachusetts 216 32–3; Arabic calligraphy 69–70, 74, 76,
van Eetvelde House, Brussels, Belgium 288 Vitra Museum, Weil-am-Rhein, Germany 430 Whistler, James McNeill 276 81; see also manuscripts
van Eyck, Aldo (vahn-IGHK, van-) 402 Vitruvius (Marcus Vitruvius Pollio) (vi- White, Stanford 310, 311, 314, 427 see also Wurster, William Wilson 404
Vanbrugh, John (VAN-bruk, VAN-bruh, TROO-vee-uhs) 38, 47, 124, 140, 199 McKim, Mead & White Wyatt, James 241
Volume Magazine (Koolhaas) 431 White Temple, Uruk, Sumeria (OO-ruk) Wyman, George Herbert 314
van-BROO) 204 Voysey, Charles Francis Annesley (VOI-zee) 19–20
Vanna Venturi House, Philadelphia, Penn- 278, 281, 288 Whitney Museum of American Art, New Yale Art Gallery, Yale University, New
Vries, Vredeman de (duh-VREES) 194 York 406, 407, 454 Haven, Connecticut 418
sylvania 423, 423–4 Vuitton stores, London, England and Hong Wiener Werkstätte 297, 299
van’t Hoff, Robert 333 Kong 463, 463 Wigley, Mark 428 Yale University, New Haven, Connecticut
Vasari, Giorgio (vah-ZAHR-ee) 135 Vuoksenniska Church, Imatra, Finland wigwams 15, 16, 20 418, 418
Vaterland (ocean liner, renamed Leviathan) (VOO-oh-sen-ee-skah) 352, 352–3, 353 Wilkinson, Clive 460
Willard, Simon 230 Yeongsan International Business District,
327 W Paris Opera Hotel, Paris, France 456 William and Mary period 200, 204 Seoul, Korea 467, 467
vaults 39, 57, 59, 63–4, 102–4 Wagner, Otto (VAHG-nuhr) 296–7, 385 Williams, Owen 361
Vaux, Calvert 256–7 Wales: Caernarvon Castle, Gwynedd 115; Williams, Tod 453 Yorke, F.R.S. 378
Vaux-le-Vicomte, Melun, France (voh-luh- Williamsburg style 320–1 Young, William 253
Conwy Castle, Conwy 115; Menai Willis, Faber and Dumas offices, Ipswich, A Young Woman Standing at a Virginal
vee-KAWnT) 171, 171 Strait suspension bridge 245–6; Opera England 421, 422
Vázquez, Fray Manual (Vahz-kez) 188 House, Cardiff 431; Plas Mawr, Conwy (Vermeer) 195
Venice, Italy: Ca d’Oro 115; Doge’s Palace 196, 196 yurts (gers) 16
Walker, Peter 443
152, 152–3; Il Redentore 141; S. Gior- Zanuso, Marco (tsah-NOO-soh) 398, 426
gio Maggiore 141, 141; S. Marco 48, Ziegfeld Theater, New York 358
55; S. Maria della Salute 152 Zimmerman, Domenikus 158
Venini glassware 398 Zwiefalten, Germany 158
Venturi, Robert (ven-CHOOR-ee, -TOOR-ee)
265, 418, 423–5