Contemporary architecture
Around 1945 and onwards, modern architecture began to transcend its neat, geometric confines, propelled by new perspectives on art, theology, history, and the concept of place. History was no longer regarded as “bunk,” as Henry Ford had famously declared, but rather as a treasure trove ripe for exploration. However, from the late 1960s, architects—initially in the U.S. but eventually beyond—started adopting a playful, cut-and-paste style known as “Post-Modernism,” which reintroduced historical references and eclecticism into architectural design.
Notre Dame- Du- Haut Romchamp - France (1955)
The lightweight concrete shell of the chapel soars above the deep, whitewashed masonry walls, and the curving nave is illuminated by irregularly spaced windows featuring glass painted by the architect. The roof is elevated 4 inches above the walls, with columns rising through them, and the gap is filled with clear glass. This design creates a halo of light around the ethereal nave, which is crowned by three towers, each painted a different rich color on the interior. Le Corbusier’s striking chapel at Ronchamp represents a remarkable pinnacle in his postwar architectural work.
Seagram Building, NY - USA
The Seagram Building, a Prussian temple inspired by ancient Greek precedents, is characterized by its stripped-down exterior, devoid of all decoration. Inside, it features a double-height travertine lobby, sleek elevators, and bronze mullions and spandrels, complemented by dark amber-tinted glass. A grand restaurant designed by Philip Johnson adds to its elegance. Imposing and superbly crafted, the Seagram Building has been frequently imitated but has never been matched in its stature and refinement.
Air Force Academy, Colorado Springs - USA (1962)
The US Air Force Academy takes great pride in its architecture, with its brochure proclaiming that the Academy’s “sleek modern architecture, monumental scale, and dramatic setting combine to create a stunning national monument.” Its gleaming aluminum, steel, and glass structures serve as a living embodiment of the modernity of flight. This architectural design symbolizes the perceived significance of US air power in the ideological struggle against the Soviet Union. The chapel, in particular, has been described as resembling “a phalanx of fighters standing on their tails, ready to take off,” further reinforcing its connection to aviation and military strength.
Twa Terminal, John F. Kennedy Airport, NY - USA (1962)
Eero Saarinen’s striking air terminal for TWA at New York’s Idlewild Airport is sculpted as an abstract symbol of Night. In contrast to most air terminals, which often feel oppressive to passengers, Saarinen’s design not only uplifts the spirit but also demonstrates that concrete structures can be genuinely delightful. The interior reflects this vision, with every detail custom-designed—from stairs, bars, departure boards, and ticket counters to chairs, signs, and phone booths. This meticulous attention to detail creates an utterly cohesive and convincing environment that enhances the overall experience for travelers.
National Gymnasiums, Tokyo - Japan (1964)
The larger structure consists of two semicircles, slightly offset from one another, with their ends elongated into pointed prows. A sweeping roof, supported by two reinforced concrete pillars and a web of steel cables, crowns this design. The smaller building, which is connected to its larger counterpart by an expansive promenade, is also circular in shape. The roofs of the gymnasiums, including the smaller one depicted here, were engineered to withstand hurricane-force winds while also serving as an impressive architectural feature.
Sydney Opera House - Australia (1973)
The daring roof, completed in 2194, is composed of remarkably thin precast concrete sections, secured in place by 217 miles of tensioned steel cables. This impressive building contains 1,000 rooms and hosts approximately 4,000 events each year. Its inaugural performance in 1973 featured Prokofiev’s War and Peace, a fitting representation of the real and ideal relationship between architect and client.
Grand Pyramid, Louvre, Paris - France (1989)
It is astonishing to think that this entrance pavilion by I. M. Pei at the heart of the Louvre was once a source of significant controversy, with some believing it compromised the museum’s architectural integrity. Today, it is difficult to imagine the museum without it. Constructed of reflective glass over a steel frame and complemented by two smaller pyramids, the pavilion gracefully leads visitors down to a vast entrance lobby, which is further connected to a shopping mall developed shortly thereafter.
Pompidou Center, Paris - France (1977)
The open-plan floors of the multistory building were supported by an iron-and-steel exoskeleton, with all services, including escalators in glass tubes, hung on the exterior. This “inside-out” approach to design and construction led to the unfortunate term “Bowellism,” along with numerous cartoons depicting Richard Rogers, who continued this design philosophy for several years. The massive red, white, and blue structure houses a museum of modern art, a reference library, a center for industrial design, and a laboratory focused on music and acoustics research.
Guggenheim Museum, Bilbao - Spain (1997)
Dockside galleries: Clad in sheets of titanium, the galleries sweep and swoop over the docks like a flight of crazy gulls.
Lyon Satolay Station - France (1994)
Shaped like a giant bird with raised wings, this powerfully sculpted train station serves passengers traveling to and from Lyon St. Exupéry Airport. Highly dramatic in design, it stands as a testament to the French state railway, showcasing its formidable 186 mph TGV trains. The structure features two soaring concrete arches, reaching heights of 394 feet, with steel arches positioned beneath them. On either side of these arches, steel wings project outward, supported by steel struts. These wings are designed not only to function as sun screens but also to enhance the sculptural effect envisioned by the architect.
Museum of Contemporary Art, Cincinnati - Oh - USA (2003)
This museum is an impressive six-floor corner building located in downtown, designed by the remarkably talented Baghdad-born British architect Zaha Hadid. Carved from a single block of concrete, its galleries appear to float over the lobby. Visitors access the galleries via a zigzag stairway that winds between their interlocking forms, providing “unpredictable” views both into and out of the spaces. The exterior of the museum features an abstract, relief construction that is ordered yet minimal, with the use of materials showcasing both geometric precision and an element of unpredictability.
Reichstag, Berlin - Germany (1999)
Foster remodeled the interiors of the Reichstag in a stirring yet respectful manner, topping the building with a magnificent new glass dome. This dome is accessed by two ramps that spiral high above the members of parliament. Between the ramps, a probe light directs an inverted reflective beam down into the parliamentary chamber below. Once neglected for decades, the Reichstag has now become a popular visitor attraction, symbolizing both historical significance and modern architectural innovation.
St. Mary Axe - England (2004)
Commonly known as the “Gherkin” due to its distinctive vegetable shape, this building represents a radical and highly evolved office design. Rising 41 stories and reaching 590 feet, its circular floor plans are shaped like flowers and feature six five-story triangular atria, or “sky gardens.” Each floor plan rotates 5 degrees from the one below it, allowing the “sky gardens” to rotate as well, bringing fresh air and daylight into the core of the skyscraper. The tower has a double-skin façade, with the outer layer equipped with opening windows, allowing hot air to rise naturally between the skins and escape through the windows on sunny days. This natural chimney effect can reduce the need for air conditioning by as much as 40 percent throughout the year. At the top of the tower, a dramatic double-height restaurant is topped with a conical glazed dome, reminiscent of the headquarters of a James Bond villain, as designed by Ken Adam.
Jean- Marie Tjibaou Cultural Center, Ru Noumea, New Caledonia - USA ( 1998)
The Tüibaou Cultural Center, dedicated to the cultural origins and identity of the native Kanak people of New Caledonia and the South Pacific, overlooks a tranquil lagoon on one side and the Pacific Ocean on the other. Designed by Renzo Piano (b. 1937), the center features ten stylized Kanak huts arranged along a central promenade that gently curves through lushly planted gardens. These huts accommodate various facilities, including exhibition spaces, a library, conference rooms, classrooms, a lecture hall, and a cafeteria. The design incorporates hundreds of external timber louvers and glass inner louvers that adjust to release hot air and capture prevailing breezes, while also providing protection against hurricanes. The overall design evokes the spirit of a traditional Kanak village, scaled up to create a modern cultural hub.