Let’s continue with other two buildings I would recommend in NYC: these two are designed by great architects (Mies Van Der Rohe and Frank Lloyd Wright) and, fifty years after their completion, they’re still admired by many visitors everyday. Two of the most beautiful International-style works of architecture and relevant buildings in the tradition and history of the city.
2. Mies van der Rohe / Seagram Building
Located in the heart of New York City, the Seagram Building designed by Mies van der Rohe epitomizes elegance and the main principles of modernism.
The 38-story building on Park Avenue was Mies’ first attempt at tall office building construction. Mies’ solution set a standard for the modern skyscraper. The building became a monumental continuity of bronze and dark glass climbing up to the top of the tower, juxtaposing the large granite surface of the plaza below.
The detailing of the exterior surface was carefully determined by the desired exterior expression Mies wanted to achieve: the metal bronze skin that is seen in the facade is nonstructural, but is used to express the idea of the structural frame that is underneath. Additional vertical elements were also welded to the window panels not only to stiffen the skin for installation and wind loading, but to aesthetically further enhance the vertical articulation of the building.
The Seagram Building, with its use of modern materials and setback from the city grid, became a model for many buildings erected in its surroundings (as well as a prototype for future office buildings designed by Mies).
3. Frank Lloyd Wright / Solomon R. Guggenheim Museum
The Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, unfortunately six months after his death, making it one of his longest works in creation along with one of his most popular projects.
The exterior of the Guggenheim Museum is a stacked white cylinder of reinfored concrete swirling towards the sky.
The museum’s dramatic curves of the exterior, however, had an even more stunning effect on the interior.
Inside Wright proposed “one great space on a continuous floor,” and his concept was a success.
The ramp also creates a procession in which a visitor experiences the space and the art displayed along the walls as they climb upwards towards the sky.
That’s it for the classics.
The fourth chapter is going to be about one of the newest projects in New York!