Abstract
This paper approaches three examples of modern architecture that seem dissimilar at first, Sidney Smith Hall at the University of Toronto, the Villa Savoye near Paris, and what is known as the Barcelona Pavilion. The paper holds that despite their different purposes, they are similar structures according to principles of the modern movement. To conclude, it states that Sidney Smith Hall is significant in a Toronto environment much given to the preservation of architectural heritage, but that has often failed to appreciate its examples of the modern style.

Outline:
Introduction
Sidney Smith Hall, University of Toronto, 100 St. George Street
Villa Savoye, Poissy, nr. Paris 1920-1930 (Le Corbusier)
German Pavilion, Barcelona Exposition, (Mies van der Rohe)
Concluding Remarks

From the Paper
"As an example of the International Style much pursued by the modern movement, one realizes that the same structure with minimal adjustment could be placed anywhere. (See Khan 1998) Erected in any country in the world, Sidney Smith Hall would offer the same economy of line combined with a feeling of spaciousness and accessibility, its terrace areas suited to the climate of a central Canadian city as much as entirely different settings. This theme of universality was a favourite of both Mies van der Rohe and Le Corbusier as discussed below. (Padovan 45-48) As a contribution to the international style, Sidney Smith Hall may have shown its ongoing adaptability in the 2003 enclosure of one terrace that was opposed by some but does not seem to have altered greatly the sense of access the architect intended."

Tags:building, Villa Savoye, Poissy, German Pavilion, Barcelona Exposition, Mies van der Rohe, Le Corbusier

Abstract
This paper discusses and describes the ongoing Sidney Smith Hall at the University of Toronto as a rare instance of Modern architecture in Toronto. The paper also highlights a residential site in the Villa Savoye in France and the Barcelona Pavilion help to indicate other Modern principles and techniques in architecture. The paper concludes by favoring Modern design in its principles and the varied applications that its practitioners argued.

From the Paper
"The Modern movement in architecture is usually attributed to the interval of 1920 or slightly earlier to 1950 as incorporates both of the World Wars. The experience of World War I cast great aspersion on longer ideas of Western progress, classicism and romanticism towards fondness for what was functional, durable and significantly, what could be reproduced about the world as part of what some architects described as an International style. This paper approaches three examples of Modern architecture that, at first, seem dissimilar in Sidney Smith Hall at the University of..."

Tags:s smith hall, le corbusier, mies

Abstract
The first part of this paper looks at the various definitions of what constitutes "modern" architecture. The next part looks at how the various styles sought to take advantage of new material and to address changing social needs. In the last part, the paper examines how modern architecture is responding to new concerns, such as a growing environmental awareness and the security concerns raised by the September 11 attacks on New York's World Trade Center.

From the Paper
"The term "modern architecture" encompasses many styles and movements. However, experts generally agree that modern architecture was codified in the "International" style that resulted from the amalgamation of the several design ethics that were only made possible by the technological advances after the Industrial Revolution. By the 20th century, it had become apparent that technology was blurring traditional cultural boundaries, as commerce, industry, travel and immigration grew increasingly global."

Tags:world, trade, center

Abstract
To consider modern architecture, this paper considers the various steps that have occurred. It begins with a consideration of the Congres Internationaux d'Architecture Moderne (CIAM) architects and proceeds to Team X. This is followed by a look at New Brutalism and then leads to a look at the current state of architecture. This gives a view of the current state of architecture, as well as providing the context that allows the current state to be understood. From there, the paper looks ahead to the future of architecture and predicts what that future will look like, based on the trends that have been identified. The paper shows that architecture is ever-changing, while providing an overview of the changes that have taken place until now and the changes that can be expected to take place, leading to the future.

From the Paper
"Architecture will never achieve some perfect state where everyone accepts that the one best form has now been achieved. The reason for this is that what is considered best changes as people change. This aspect applies to architecture as much as it does to any other art form or any item produced in society. People in one generation may strive for a certain perfect form and they may even achieve it in their lifetime. However, even if they do, this form does not become the one perfect standard, never changing again. Instead, the next generation considers what has been created before and strives to achieve something. If architecture is considered as art, this is the same process that occurs with all other forms of art. For example, literature created centuries ago does not remain as the one perfect form for literature. Shakespeare's work is still considered great, but the writers of today rarely create works similar to Shakespeare's. Instead, they create works that reflect modern society, while possibly taking aspects of Shakespeare's work and building on them. This creates a continual process of change, where one form grows into others. If architecture is considered as practical rather than artistic, it can be likened more to research-based developments. For example, the automobile was first developed in the early 20th century. Since that time, technical developments have seen it change considerably. These changes are also in response to changing society. For example, currently environmental issues are a social concern. For this reason, automobiles are beginning to develop with alternatives modes of fuel. Overall, this shows that architecture is like everything else in society, in that it will be constantly changing as society changes, while each generation will consider the works that have gone before it, assess them, make changes, and in doing so, continue the development of the field."

Tags:team, x, new, brutalism

Abstract
This paper discusses the progression from estrangement to event in Archigram member Ron Herron's, Walking City and architect Rem Koolhaas', Generic City. Postmodernism and existentialism are explored as the basis for the detachment these architectural concepts illustrate. The paper includes photographic representation.

From the Paper
"From estrangement to event Archigram's, Walking City and Rem Koolhaas's, Generic City are conceptual models of modern society's transition from estrangement to event. In the evolution of modern thought the progression from estrangement to event has been ..."

Tags:estrangement, event, koolhaas, archigram, walking city, generic city, postmodernism, existentialism

Abstract
This paper examines how far modern economies depart from the ideals of the free market envisaged by Adam Smith. The paper begins with a short biographical note on Smith, and explains how he came to formulate his revolutionary theories regarding the workings of the free market. The paper then goes on to explain why Smith was against both government intervention and the proliferation of corporations, and shows how both these evils are rife in modern economies. The paper analyzes modern economies in further detail to highlight how far they depart from the ideals expressed by Smith.

From the Paper
"Adam Smith is responsible for introducing the mechanics of the market into political thought, and thus he has given rise to the modern discipline of economics. He advised that the mechanics of the market should not be interfered in by government bodies, implying that unhindered market forces works to the benefit of society as a whole, and thereby to the enrichment of the nation. However, he would not have approved of the nature of global economics as it has transpired in the modern world, where great multinational corporations control the agenda, and therefore the market can no longer be called free."

Tags:exchange, enterprise, supply, demand, invisible, hand, intervention, corporation

Abstract
William Morris and Marcel Breuer were architects that took two different physical approaches in removing worthwhile design out of palaces and putting it into the homes of ordinary people. Both brought to their design philosophy a substantial political agenda and, in fact, a substantially similar political agenda. The paper shows that Morris' politics had the gentle color of his native England in the second half of the 19th century and of one of its great philosophers, John Ruskin. In comparison, the paper shows that Breuer's political inspiration came, not from his native Hungary, but a post-WWI Germany and its socialist leanings and, later, from American abundance and willingness to experiment. The paper shows that where Morris' ideas reflected the natural life of a still somewhat pastoral England that surrounded him (especially as he had the means to choose his locale), Breuer's ideas reflected a more muscular, sinewy, hardened landscape of assembly lines and relentlessly turning crankshafts and gears. Where Morris was organic and 'green,' Breuer was skeletal and 'steely gray.'

From the Paper
"Despite the intent of both men to bring good design down to earth, the results could not have been more different. Morris, because of the time in which he worked, was limited to traditional furniture materials, mainly wood and metal used only in joinery and sometimes in decoration. In fact, it was in decoration that Morris excelled. His use of curvilinear carving in his wallpapers and furniture, especially his dining chairs, makes clear his connection to the pastoral settings so familiar to educated Englishmen. In addition, because his belief demanded that the overburdened workingman have a respite from the world of shoddy utilitarian objects, (or ugly goods, as he might put it), embellishment suitable to the object and its use was essential."

Tags:Art, Nouveau, Arts, and, Crafts, Movement, Bauhaus, modernism

Abstract
This paper explains that the development of a postmodern architectural style can best be understood as a reaction to the modernist perception of art and architecture. The paper explains that, in the postmodern view, ornament is not seen as being extraneous and superfluous, but rather as a valid and important extension and addition to the meaning and the context of the architectural work. The postmodern style reintroduced the value of ornamentation as part of the eclectic and 'open ended' nature of postmodern and post-structural thinking. The paper describes this ornamentation in the work of Hans Hollein, Michael Graves and Robert Venturi. Several colored pictures are included with the paper.

Table of Contents:
Introduction
Post Modernism
Ornament
Ornaments Role in Postmodern Architecture
Example of the Work of Robert Venturi
Example of the Work of Michael Graves
Example of the work of Hans Hollein
Conclusion

From the Paper
"Graves achieved international recognition for his design for a Portland Public Services Building in 1980. Another building that bears his unique postmodern stamp is Humana Corporate Headquarters in Louisville, Kentucky (1982). He is also well known for his creative extension to the Whitney Museum of American Art in New York (1985-87). Among his many other works is the Dolphin and Swan Hotels at Disney World in Orlando. These works also make extensive use of decoration and ornamentation."

Tags:imagination eclectic, guild house, humana tower, jewelry stores

Abstract
This paper examines the years known as the Modern Revolution, which consisted of global and unprecedented exchanges of ideas, goods and people. The years between 1850 and 1914 were described as autocatalytic or a condition wherein one kind of change evolved on its own and produced other kinds of changes. The paper gives examples of many of these changes, within historical, political and economic spheres. Major conflicts and their leaders are highlighted.

From the Paper
"Great Britain was the engine of world economic growth during the Industrial Revolution period between 1820 and 1890 (Adelman 1995). It started the Industrial Revolution. Competition with Great Britain and the spread of British technology spurred industrialization in the responding countries in Europe and overseas. The Industrial Revolution primarily linked European and overseas economies in complementing development patterns, which set the trend of economic growth in developed countries overseas. It also substantially increased economic differentiation among nations. The ratio of the per capita income of the most advanced country to the least advanced country rose from 2.8:1 at the start of the Industrial Revolution to 10.4:1 or four times in 1913. This imbalance put a set of developed industrial countries in one hand and a set of raw-material, agricultural-staple-based developing countries on the other (Alderman)."

Tags:industrial, revolution, modern, revolution, Crimean, War, Alexander, II, Russia

Abstract
In this paper the author presents a brief history of Western architecture, highlighting the major epochs in European architecture, and modern architecture in the US. The paper further discusses the function of architectural space, its use and its aesthetic. Various architectural techniques and their historical development are analyzed. The paper concludes with an an examination of modern architects, including Frank Lloyd Wright, whose designs are considered a culmination of the works that preceded him.

From the Paper
"It would seem logical to start our exploration of the history of architecture with one of the greatest artists of all time--Michelangelo Buonarroti (1475--1564), regarded by many as the "father of architecture in Europe and the greatest designer of the last 500 years" (Lowry, 167). Of all his architectural designs, the vestibule of the Laurentian Library, built to house the immense collections of the Medici family in Florence, Italy, stands out above all others. This vestibule gives the impression of a vertically compressed, shaft-like space which is dominated by a vast, flowing staircase that almost fills the interior, and unlike his contemporaries, Michelangelo ignored classical architectural ideals by placing his columns in pairs which are sunk into the walls; he breaks columns around corners and placed beneath them consoles not meant as support. In essence, Michelangelo "did away with classical architecture so prevalent in the High Renaissance and greatly influenced all architectural designs and forms that followed him" (Copplestone, 178)."

Tags:architecture, architects, Renaissance, Frank, Lloyd, Wright, Michaelangelo