Copyright © 2015 Bert N. Langford (Images may be subject to copyright. Please send feedback)
Welcome to Our Generation USA!

Architecture
covers all man-made structures including buildings, bridges and tunnels used in pedestrian or vehicle transit, hydroelectric power stations (e.g., Hoover Dam) as well as statues/monuments (e.g., Mount Rushmore), including Architectural Schools and Architectural Technology
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Architecture of Buildings, Bridges, Tunnels, Monuments and Pedestrian Bridges
YouTube Video: Inside the New 1 World Trade Center
Pictured: L-R: The New World Trade Center, New York; Golden Gate Bridge: San Francisco; Mount Rushmore. South Dakota

​Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures.

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.

"Architecture" can mean:
  • A general term to describe buildings and other physical structures.
  • The art and science of designing buildings and (some) non-building structures.
  • The style of design and method of construction of buildings and other physical structures.
  • Knowledge of art, science, technology and humanity.
  • The practice of the architect, where architecture means offering or rendering professional services in connection with the design and construction of buildings, or built environments.
  • The design activity of the architect, from the macro-level (urban design, landscape architecture) to the micro-level (construction details and furniture).

​Architecture has to do with planning and designing form, space and ambience to reflect functional, technical, social, environmental and aesthetic considerations.

It requires the creative manipulation and coordination of materials and technology, and of light and shadow. Often, conflicting requirements must be resolved.

The practice of architecture also encompasses the pragmatic aspects of realizing buildings and structures, including scheduling, cost estimation and construction administration.

Documentation produced by architects, typically drawings, plans and technical specifications, defines the structure and/or behavior of a building or other kind of system that is to be or has been constructed.

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St. Louis Gateway Arch
YouTube Video: Saint Louis Gateway Arch : "A RIDE TO THE TOP" - Tour
Pictured: St. Louis Gateway Arch: LEFT: last piece being installed Oct. 28, 1965; RIGHT: framing fireworks display

​The Gateway Arch is a 630-foot (192 m) monument in St. Louis, Missouri. Built as a monument to the westward expansion of the United States, it is the centerpiece of the Jefferson National Expansion Memorial and has become an internationally famous symbol of St. Louis.

Clad in stainless steel and built in the form of an inverted, weighted catenary arch, it is the world's tallest arch, the tallest man-made monument in the Western Hemisphere, and Missouri's tallest accessible building. 

The arch sits at the site of St. Louis' founding on the west bank of the Mississippi River.

The Gateway Arch was designed by Finnish-American architect Eero Saarinen in 1947; construction began on February 12, 1963, and was completed on October 28, 1965, for $13 million (equivalent to $190 million in 2015). The monument opened to the public on June 10, 1967.

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Residential Housing including: YouTube Videos: Pictured (L-R): A ranch-style house in Salinas, California, U.S.; (R) Tiny houses on display in Portland, Oregon (courtesy of DanDavidCook)
Click here for a List of House Types

A house is a building that functions as a home, ranging from simple dwellings such as rudimentary huts of nomadic tribes and the improvised shacks in shantytowns to complex, fixed structures of wood, brick, concrete or other materials containing plumbing, ventilation and electrical systems.

Houses use a range of different roofing systems to keep precipitation such as rain from getting into the dwelling space. Houses may have doors or locks to secure the dwelling space and protect its inhabitants and contents from burglars or other trespassers.

Most conventional modern houses in Western cultures will contain one or more bedrooms and bathrooms, a kitchen or cooking area, and a living room. A house may have a separate dining room, or the eating area may be integrated into another room. Some large houses in North America have a recreation room.

In traditional agriculture-oriented societies, domestic animals such as chickens or larger livestock (like cattle) may share part of the house with humans. The social unit that lives in a house is known as a household.

Most commonly, a household is a family unit of some kind, although households may also be other social groups, such as roommates or, in a rooming house, unconnected individuals.

Some houses only have a dwelling space for one family or similar-sized group; larger houses called townhouses or row houses may contain numerous family dwellings in the same structure.

A house may be accompanied by outbuildings, such as a garage for vehicles or a shed for gardening equipment and tools. A house may have a backyard or front yard, which serve as additional areas where inhabitants can relax or eat.

Click on any of the following blue hyperlinks for more about Residential Housing: ___________________________________________________________________________

The following is a List of building materials as it applies to residential housing.

Many types of building materials are used in the building construction and construction industry to create buildings and structures.

​These categories of materials and products are used by architects and construction project managers to specify the materials and methods used for building projects.

Some building materials like cold rolled steel framing are considered modern methods of construction, over the traditionally slower methods like blockwork and timber. Many building materials have a variety of uses, therefore it is always a good idea to consult the manufacturer to check if a product is best suited to your requirements

Click here for a List of building Materials

Industry Standards:

The Construction Specifications Institute maintains the following industry standards:
  • MasterFormat – 50 standard divisions of building materials - 2004 edition (current in 2009)
  • 16 Divisions – Original 16 divisions of building materials

See Also:
Sources: ___________________________________________________________________________

The tiny house movement (also known as the "small house movement") is a description for the architectural and social movement that advocates living simply in small homes. There is currently no set definition as to what constitutes as a tiny house; however, a residential structure under 500 square feet (46 m2) is generally accepted to be a tiny home.

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Apartments, including Rent Control in the United States
YouTube Video: How to Find an Apartment
YouTube Video: Who are Rent Control's Biggest Beneficiaries?
Pictured: Apartments Complexes as (L) Exterior; (R) Interior (with view)

An apartment is a self-contained housing unit (a type of residential real estate) that occupies only part of a building, generally on a single level.

Such a building may be called an apartment building, apartment complex, flat complex, block of flats, tower block, high-rise or, occasionally, mansion block (in British English), especially if it consists of many apartments for rent. In Scotland, it is called a block of flats or, if it is a traditional sandstone building, a tenement, a term which has a pejorative connotation in the United States. Apartments may be owned by an owner/occupier, by leasehold tenure or rented by tenants(two types of housing tenure)

The term apartment is favored in North America (although in some cities flat is used for a unit which is part of a house containing two or three units, typically one to a floor.

Technically multi-story apartments sometimes referred to as mid-rise apartments and even high-rise apartments when there are many stories. Duplex description can be different depending on the part of the country but generally has two to four dwellings with a door for each and usually two front doors close together but separate - referred to as 'duplex' (or 'triplex') indicating the number of units, not the number of floors as they are usually one story at least in the Texas area.

In the United States, some apartment-dwellers own their units, either as co-ops, in which the residents own shares of a corporation that owns the building or development; or in condominiums, whose residents own their apartments and share ownership of the public spaces.

Most apartments are in buildings designed for the purpose, but large older houses are sometimes divided into apartments. The word apartment denotes a residential unit or section in a building. In some locations, particularly the United States, the word connotes a rental unit owned by the building owner, and is not typically used for a condominium.

In some countries the word "unit" is a more general term referring to both apartments and rental business suites. The word 'unit' is generally used only in the context of a specific building; e.g., "This building has three units" or "I'm going to rent a unit in this building", but not "I'm going to rent a unit somewhere". Some buildings can be characterized as 'mixed use buildings', meaning part of the building is for commercial, business, or office use, usually on the first floor or first couple of floors, and one or more apartments are found in the rest of the building, usually on the upper floors.

Click on any of the following for more about Apartments: ___________________________________________________________________________

Rent control in the United States:

Rent control in the United States refers to laws or ordinances that set price controls on the renting of American residential housing. They function as a price ceiling.

Click on any of the following blue hyperlinks for more about Rent Control in the United States:
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Condominiums
YouTube Video: Why great architecture should tell a story 
by Architect Ole Scheeren TED
Pictured below: Zaha Hadid Architects completes 520 West 28th Street condos in New York

​A condominium, often shortened to condo, in the United States and in most Canadian provinces, is a type of living space which is similar to an apartment but which is independently sellable and therefore regarded as real estate.

It is where the condominium building structure is divided into several units that are each separately owned, surrounded by common areas that are jointly owned. 

Residential condominiums are frequently constructed as apartment buildings, but there has been an increase in the number of "detached condominiums", which look like single-family homes but in which the yards, building exteriors, and streets are jointly owned and jointly maintained by a community association.

Unlike apartments, which are leased by their tenants, condominium units are owned outright. Additionally, the owners of the individual units also collectively own the common areas of the property, such as hallways, walkways, laundry rooms, etc.; as well as common utilities and amenities, such as the HVAC system, elevators, and so on.

Many shopping malls are industrial condominiums in which the individual retail and office spaces are owned by the businesses that occupy them while the common areas of the mall are collectively owned by all the business entities that own the individual spaces.

The common areas, amenities and utilities are managed collectively by the owners through their association, such as a homeowner association.

Scholars have traced the earliest known use of the condominium form of tenure to a document from first century Babylon. 

In the United States:

The first condominium law passed in the United States was in the Commonwealth of Puerto Rico in 1958.

In 1960, the first condominium in the Continental United States was built in Salt Lake City, Utah.  

Section 234 of the Housing Act of 1961 allowed the Federal Housing Administration to insure mortgages on condominiums, leading to a vast increase in the funds available for condominiums, and to condominium laws in every state by 1969.

Many Americans' first widespread awareness of condominium life came not from its largest cities but from South Florida, where developers had imported the condominium concept from Puerto Rico and used it to sell thousands of inexpensive homes to retirees arriving flush with cash from the urban Northern United States.

The primary attraction to this type of ownership is the ability to obtain affordable housing in a highly desirable area that typically is beyond economic reach. Additionally, such properties benefit from having restrictions that maintain and enhance value, providing control over blight that plagues some neighborhoods.

Over the past several decades, the residential condominium industry has been booming in all of the major metropolitan areas such as: Miami, San Francisco, Seattle, Boston, Chicago, Austin, Los Angeles, and New York City.

However, in recent years, supply within the condo industry has caught up with demand and sales have slowed. It is now in a slowdown phase.

An alternative form of ownership, popular in parts of the United States but found also in other common law jurisdictions, is housing cooperative, also known as "company share" or "co-op". A Housing Cooperative is where the building has an associated legal company and ownership of shares gives the right to a lease for residence of a unit.

Another form is ground rent (solarium) in which a single landlord retains ownership of the land (solum) but leases the surface rights (superficies) which renew in perpetuity or over a very long term. This is comparable to a civil-law emphyteusis, except that emphyteusis shifts the duties of up-keep and making improvements onto the renter.
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In the United States, there are several different styles of condominium complexes. For example, a garden condominium complex consists of low-rise buildings built with landscaped grounds surrounding them.

A townhouse condominium complex consists of multi-floor semi-detached homes. In condominium townhouses, the purchaser owns only the interior, while the building itself is owned by a condominium corporation.

The corporation is jointly owned by all the owners, and charges them fees for general maintenance and major repairs. Freehold townhouses are exclusively owned, without any condominium aspects. In the United States this type of ownership is called fee simple.

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Mount Rushmore
YouTube Video: Mount Rushmore Was Supposed to Look Very Different
(By Smithsonian Channel)
Pictured below: Mount Rushmore National Memorial

Mount Rushmore National Memorial is centered around a sculpture carved into the granite face of Mount Rushmore in the Black Hills in Keystone, South Dakota.

Sculptor Gutzon Borglum created the sculpture's design and oversaw the project's execution from 1927 to 1941 with the help of his son Lincoln Borglum. 

The sculptures feature the 60-foot (18 m) heads of Presidents George Washington (1732–1799), Thomas Jefferson (1743–1826), Theodore Roosevelt (1858–1919), and Abraham Lincoln (1809–1865). 

The memorial park covers 1,278.45 acres (2.00 sq mi; 5.17 km2) and is 5,725 feet (1,745 m) above sea level.

South Dakota historian Doane Robinson is credited with conceiving the idea of carving the likenesses of famous people into the Black Hills region of South Dakota in order to promote tourism in the region. His initial idea was to sculpt the Needles; however, Gutzon Borglum rejected the Needles because of the poor quality of the granite and strong opposition from American Indian groups.  They settled on Mount Rushmore, which also has the advantage of facing southeast for maximum sun exposure.

Robinson wanted it to feature American West heroes such as Lewis and Clark, Red Cloud, and Buffalo Bill Cody, but Borglum decided that the sculpture should have broader appeal and chose the four presidents.

Senator Peter Norbeck sponsored the project and secured federal funding; construction began in 1927, and the presidents' faces were completed between 1934 and 1939. Gutzon Borglum died in March 1941, and his son Lincoln took over as leader of the construction project. Each president was originally to be depicted from head to waist, but lack of funding forced construction to end on October 31, 1941.

Mount Rushmore attracts more than two million visitors annually.

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Architectural Digest (Magazine and Website)
YouTube Video: Inside Mandy Moore's $2.6 Million Mid-century Home in Pasadena | Open Door
Pictured below: Top 100 Architects by Architectural Digest

Architectural Digest is an American monthly magazine founded in 1920. Its principal subject is interior design, rather than architecture more generally. The magazine is published by Condé Nast, which also publishes international editions of Architectural Digest in China, France, Germany, Russia, Spain, Mexico, and Latin America.

Architectural Digest is aimed at an affluent and style-conscious readership, and is subtitled "The International Design Authority". The magazine also releases the annual AD100 list, which recognizes the most influential interior designers and architects around the world.

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Architecture of the United States
YouTube Video: The History of the United States Capitol
Pictured below: The Coolest College Architecture in the United States featuring Georgetown University (by Travel & Leisure Magazine)

The architecture of the United States demonstrates a broad variety of architectural styles and built forms over the country's history of over four centuries of independence and former Spanish and British rule.

Architecture in the United States is as diverse as its multicultural society and has been shaped by many internal and external factors and regional distinctions. As a whole it represents a rich eclectic and innovative tradition.

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How to become an Architect: including, ​​YouTube Video: Building Walt Disney World | The B1M
YouTube Video: 12 of the World’s Most Insane Engineering Marvels
Pictured below: America's Top Architecture Schools 2017
Professional requirements for architects vary from place to place, but usually consist of three elements: a university degree or advanced education, a period of internship or training in an office, and examination for registration with a jurisdiction.

Professionals engaged in the design and supervision of construction projects prior to the late 19th century were not necessarily trained in a separate architecture program in an academic setting. Instead, they usually carried the title of Master Builder, or surveyor, after serving a number of years as an apprentice (such as Sir Christopher Wren).

The formal study of architecture in academic institutions played a pivotal role in the development of the profession as a whole, serving as a focal point for advances in architectural technology and theory.

In the United States, people wishing to become licensed architects are required to meet the requirements of their respective state. Each state has a registration board to oversee that state's licensure laws. 

National Council of Architectural Registration Boards is a non-profit professional association created in 1919 to help ensure parity between the states' often conflicting rules.

The registration boards of each of the 50 states (and 5 territories), member boards. NCARB issues a national certificate to qualified licensed architects. The NCARB certificate is recognized in most licensing jurisdictions for the purpose of granting licensure by endorsement or reciprocity.

Requirements vary among jurisdictions, and there are three common requirements for registration: education, experience and examination. About half of the States require a professional degree from a school accredited by the National Architectural Accrediting Board (NAAB) to satisfy their education requirement; this would be either a B.Arch or M.Arch degree.

The experience requirement for degreed candidates is typically the Architectural Experience Program (AXP), a joint program of and the American Institute of Architects (AIA). AXP creates a framework to identify for the intern architect base skills and core-competencies.

The intern architect needs to earn roughly three years worth of experience across six specified divisions (Practice Management, Project Management, Programming & Analysis, Project Planning & Design, Project Development & Documentation, and Construction & Evaluation) all while working under the direct supervision of a licensed Architect.

The states that waive the degree requirement typically require a full 10 years' experience in combination with the AXP diversification requirements before the candidate is eligible to sit for the examination. California requires C-IDP (Comprehensive Intern Development Program), which builds upon the seat time requirement of IDP with the need to document learning having occurred. All jurisdictions use the Architect Registration Examination (ARE), a series of six (formerly seven) computerized exams administered by NCARB.

The NCARB also has a certification for those architects meeting NCARB's model standard: NAAB degree, AXP and ARE passage. This certificate facilitates reciprocity between the member boards should an architect desire registration in a different jurisdiction. All architects licensed by their respective states have professional status as Registered Architects (RA).

Depending on the policies of the registration board for the state in question, it is sometimes possible to become licensed as an Architect in other ways: reciprocal licensure for over-seas architects and working under an architect as an intern for an extended period of time.

Length of the typical licensure process depends on the particular combination of education, experience and pace of examination of a candidate. It is typical that the entire licensure process takes at least 7 to 11 years to complete; including five years of study (5 years for B.Arch, 3 years for M.Arch, 6 years for a "four-plus-two" program), three-plus years of experience (meeting exact IDP requirements in each category), and often a year or more to take and pass the seven ARE 4.0 exams.

Click on any of the following blue hyperlinks for more about Professional Requirements for becoming an Architect: ___________________________________________________________________________

Architecture schools in the United States:

Architecture school in the United States refers to university schools and colleges with the purpose of educating students in the field of architecture.

Professional Degrees:
There are three types of professional degrees in architecture in the United States:
Non-professional degrees include (require a Master of Architecture for licensure):
  • Bachelor of Arts in Architecture (BA)
  • Bachelor of Science in Architecture (BS)
  • Bachelor of Fine Arts in Architecture (BFA Arch)
  • Bachelor of Environmental Design (B.Envd or B.E.D.)

A non-professional degree typically takes four years to complete and may be part of the later completion of professional degree (A "4+2" plan comprises a 4-year BA or BS in Architecture followed by a 2-year Master of Architecture).

The 5-year BArch and 6-year MArch are regarded as virtual equals in the registration and accreditation processes.

A professional Bachelor of Architecture degree takes five years to complete. (There is a 3-year B.Arch program offered by Florida Atlantic University articulated with an AA degree in architecture.) There are also M.Arch programs for those with undergraduate degrees in areas outside architecture; these program typically take six or seven semester (3 or 3-1/2 years) to complete.

Other programs (such as those offered at Drexel University, Boston Architectural College and New School of Architecture and Design) combine the required educational courses with the work component necessary to sit for the professional licensing exams.

Programs such as this often afford students the ability to immediately test for licensure upon graduation, as opposed to having to put in several years working in the field after graduation before being able to get licensed, as is common in more traditional programs.

Some architecture schools, such as Florida International University, offer the Master of Architecture degree in an accelerated five-year or six-year format without the need of a bachelor's degree. There is currently an ongoing debate to upgrade the 3.5 year M.Arch title to D.Arch both for current students and retroactively for 3.5 year M.Arch graduates.

Rankings:
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Each year, the journal DesignIntelligence ranks both undergraduate and graduate architecture programs that are accredited by the National Architectural Accrediting Board.

These rankings, collectively called "America's Best Architecture & Design Schools" are obtained by surveying hundreds of practicing architecture leaders with direct and recent experience hiring and supervising architects. They are asked what programs they consider to be best preparing students for professional success overall. They are also asked to cite the programs they consider to be the best in educating and training for specific skills. These skills rankings are also published in "America's Best Architecture & Design Schools."

Founded in 1912 to advance the quality of architectural education, the Association of Collegiate Schools of Architecture (ACSA) represents all accredited programs and their faculty across the United States and Canada, as well as non-accredited and international affiliate members around the world.

The ACSA collects detailed information from these schools for its "Guide to Architecture Schools," which exists both as a book and as a free online searchable database at archschools.org. These publications are the only complete directories of all accredited professional architecture programs in North America and are used as a reference for prospective students, graduate students, educators, administrators, counselors, and practitioners.

The ACSA Guide to Architecture Schools features detailed program descriptions, an index of specialized and related degree programs, an overview of the profession of architecture and the education process, advice on how to select the right school, and scholarship and financial aid information.

In addition, "America's Best Architecture & Design Schools" each year presents Architect Registration Examination pass rates by school, a historical review of top architecture schools, how current architecture students rank their schools, and a directory of accredited programs.

These particular alphabetical lists do not compute with a DI.net average of the past decade, leaving out a series of other brilliant institutions and including others that have just recently made the lists.

The following schools have consistently been ranked within the top 17 of all undergraduate architecture schools in the nation. In alphabetical order, the top 17 schools are: 
  1. Auburn University, 
  2. Boston Architectural College, 
  3. California Polytechnic State University, 
  4. Carnegie Mellon University,
  5. Cooper Union, 
  6. Cornell University, 
  7. Iowa State University, 
  8. Pratt Institute, 
  9. Rhode Island School of Design, 
  10. Rice University, 
  11. Southern California Institute of Architecture, 
  12. Syracuse University, 
  13. University of Notre Dame, 
  14. University of Oregon,
  15. University of Southern California, 
  16. University of Texas at Austin,
  17. and Virginia Polytechnic Institute.

The following schools are top 10 graduate schools, in order, according to "America's Best Architecture & Design Schools 2014":
  1. Harvard University,
  2. Yale University,
  3. Columbia University,
  4. Massachusetts Institute of Technology,
  5. Cornell University tied with
  6. Rice University,
  7. University of Michigan,
  8. Kansas State University,
  9. University of California, Berkeley,
  10. University of Texas at Austin.

Click here for an Alphabetical List of Architectural Schools by State.







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Architectural Style, including a List of Architectural Styles
YouTube Video: The Incredible Homes of The Top 10 Richest People
YouTube Video: Top 10 Most Expensive Homes In America
Pictured below: 32 Types of Architectural Styles for the Home (Modern, Craftsman, Country, etc.)

​An architectural style is characterized by the features that make a building or other structure notable or historically identifiable.

A style may include such elements as form, method of construction, building materials, and regional character.

Most architecture can be classified within a chronology of styles which changes over time reflecting changing fashions, beliefs and religions, or the emergence of new ideas, technology, or materials which make new styles possible.

Styles therefore emerge from the history of a society. They are documented in the subject of architectural history. At any time several styles may be fashionable, and when a style changes it usually does so gradually, as architects learn and adapt to new ideas. The new style is sometimes only a rebellion against an existing style, such as post-modernism (meaning "after modernism"), which has in recent years found its own language and split into a number of styles which have acquired other names.

Styles often spread to other places, so that the style at its source continues to develop in new ways while other countries follow with their own twist. For instance, Renaissance ideas emerged in Italy around 1425 and spread to all of Europe over the next 200 years, with the French, Belgian, German, English, and Spanish Renaissances showing recognisably the same style, but with unique characteristics.

A style may also spread through colonialism, either by foreign colonies learning from their home country, or by settlers moving to a new land. One example is the Spanish missions in California, brought by Spanish priests in the late 18th century and built in a unique style.

After a style has gone out of fashion, revivals and re-interpretations may occur. For instance, classicism has been revived many times and found new life as neoclassicism. Each time it is revived, it is different.

The Spanish mission style was revived 100 years later as the Mission Revival, and that soon evolved into the Spanish Colonial Revival.

Vernacular architecture works slightly differently and is listed separately. It is the native method of construction used by local people, usually using labor-intensive methods and local materials, and usually for small structures such as rural cottages. It varies from region to region even within a country, and takes mini account of national styles or technology. As western society has developed, vernacular styles have mostly become outmoded due to new technology and to national building standards.

Click on any of the following blue hyperlinks for more about Architectural Style: ___________________________________________________________________________

List of Architectural Styles:​

Click on any of the following blue hyperlinks for more about the List of Architectural Styles:







New7Wonders of the World Pictured below: From left to right, top to bottom: Chichen Itza, Christ the Redeemer, Great Wall of China, Machu Picchu, Petra, Taj Mahal, and Colosseum
New7Wonders of the World was a campaign started in 2000 to choose Wonders of the World from a selection of 200 existing monuments. 

The popularity poll via free Web-based voting and small amounts of telephone voting was led by Canadian-Swiss Bernard Weber and organized by the New 7 Wonders Foundation (N7W) based in Zurich, Switzerland, with winners announced on 7 July 2007 in Lisbon, at Estádio da Luz. 

The poll was considered unscientific partly because it was possible for people to cast multiple votes. According to John Zogby, founder and current President/CEO of the Utica, New York-based polling organization Zogby International, New 7 Wonders Foundation drove "the largest poll on record".

The program drew a wide range of official reactions. Some countries touted their finalist and tried to get more votes cast for it, while others downplayed or criticized the contest.

After supporting the New 7 Wonders Foundation at the beginning of the campaign by providing advice on nominee selection, the United Nations Educational, Scientific, and Cultural Organization (UNESCO), by its bylaws having to record all and give equal status to world heritage sites, distanced itself from the undertaking in 2001 and again in 2007.

The seven winners were chosen from 21 candidates, which had been whittled down from 77 choices by a panel in 2006.

The New 7 Wonders Foundation, established in 2001, relied on private donations and the sale of broadcast rights and received no public funding. 

After the final announcement, New 7 Wonders said it did not earn anything from the exercise and barely recovered its investment. Although N7W describes itself as a not-for-profit organization, the company behind it—the New Open World Corporation (NOWC)—is a commercial business. All licensing and sponsorship money is paid to NOWC.

The foundation ran two subsequent programs: New 7 Wonders of Nature, the subject of voting until 2011, and New7Wonders Cities, which ended in 2014.

The campaigns and the organization are sometimes spelled as one word and sometimes as a single word.

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History of ArchitecturePictured below: The Architect's Dream, by Thomas Cole, 1840, oil on canvas, in the Toledo Museum of Art (Toledo, Ohio, USA)
The history of architecture traces the changes in architecture through various traditions, regions, overarching stylistic trends, and dates. The beginnings of all these traditions is thought to be humans satisfying the very basic need of shelter and protection. 

The term "architecture" generally refers to buildings, but in its essence is much broader, including fields we now consider specialized forms of practice, such as civil engineering, naval, military, and landscape architecture.

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Modern vs. Post Modern Architecture Pictured below:
Examples of (TOP) Modern Home Architecture and (BOTTOM) Postmodern Condo Architecture​
Modern architecture, or modernist architecture, was an architectural movement or architectural style based upon new and innovative technologies of construction, particularly the use of glass, steel, and reinforced concrete; the idea that form should follow function (functionalism); an embrace of minimalism; and a rejection of ornament. It emerged in the first half of the 20th century and became dominant after World War II until the 1980s, when it was gradually replaced as the principal style for institutional and corporate buildings by postmodern architecture.

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Postmodern architecture is a style or movement which emerged in the 1960s as a reaction against the austerity, formality, and lack of variety of modern architecture, particularly in the international style advocated by Philip Johnson and Henry-Russell Hitchcock.

The movement was introduced by the architect and urban planner Denise Scott Brown and architectural theorist Robert Venturi in their book Learning from Las Vegas. The style flourished from the 1980s through the 1990s, particularly in the work of Scott Brown & Venturi, Philip Johnson, Charles Moore and Michael Graves. In the late 1990s, it divided into a multitude of new tendencies, including high-tech architecture, neo-futurism and deconstructivism.

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Space ArchitecturePictured below: A 1990 artist rendering of Space Station Freedom, a project that eventually evolved into the International Space Station
Space architecture is the theory and practice of designing and building inhabited environments in outer space. This mission statement for space architecture was developed at the World Space Congress in Houston in 2002 by members of the Technical Aerospace Architecture Subcommittee of the American Institute of Aeronautics and Astronautics (AIAA).

The architectural approach to spacecraft design addresses the total built environment. It is mainly based on the field of engineering (especially aerospace engineering), but also involves diverse disciplines such as physiology, psychology, and sociology. Like architecture on Earth, the attempt is to go beyond the component elements and systems and gain a broad understanding of the issues that affect design success. 

Space architecture borrows from multiple forms of niche architecture to accomplish the task of ensuring human beings can live and work in space. These include the kinds of design elements one finds in “tiny housing, small living apartments/houses, vehicle design, capsule hotels, and more.”

Much space architecture work has been in designing concepts for orbital space stations and lunar and Martian exploration ships and surface bases for the world's space agencies, chiefly NASA.

The practice of involving architects in the space program grew out of the Space Race, although its origins can be seen much earlier. The need for their involvement stemmed from the push to extend space mission durations and address the needs of astronauts including but beyond minimum survival needs.

Space architecture is currently represented in several institutions. The Sasakawa International Center for Space Architecture (SICSA) is an academic organization with the University of Houston that offers a Master of Science in Space Architecture. SICSA also works design contracts with corporations and space agencies.

In Europe, The Vienna University of Technology and the International Space University are involved in space architecture research. The International Conference on Environmental Systems meets annually to present sessions on human spaceflight and space human factors.

Within the American Institute of Aeronautics and Astronautics, the Space Architecture Technical Committee has been formed. Despite the historical pattern of large government-led space projects and university-level conceptual design, the advent of space tourism threatens to shift the outlook for space architecture work.

Etymology:

The word space in space architecture is referring to the outer space definition, which is from English outer and space. Outer can be defined as "situated on or toward the outside; external; exterior" and originated around 1350–1400 in Middle English. 

Space is "an area, extent, expanse, lapse of time," the aphetic of Old French espace dating to 1300. Espace is from Latin spatium, "room, area, distance, stretch of time," and is of uncertain origin. In space architecture, speaking of outer space usually means the region of the universe outside Earth's atmosphere, as opposed to outside the atmospheres of all terrestrial bodies. This allows the term to include such domains as the lunar and Martian surfaces.

Architecture, the concatenation of architect and -ure, dates to 1563, coming from Middle French architecte. This term is of Latin origin, formerly architectus, which came from Greek arkhitekton. Arkitekton means "master builder" and is from the combination of arkhi- "chief" and tekton "builder". 

The human experience is central to architecture – the primary difference between space architecture and spacecraft engineering.

There is some debate over the terminology of space architecture. Some consider the field to be a specialty within architecture that applies architectural principles to space applications.

Others such as Ted Hall of the University of Michigan see space architects as generalists, with what is traditionally considered architecture (Earth-bound or terrestrial architecture) being a subset of a broader space architecture. 

Any structures that fly in space will likely remain for some time highly dependent on Earth-based infrastructure and personnel for financing, development, construction, launch, and operation. Therefore, it is a matter of discussion how much of these earthly assets are to be considered part of space architecture. The technicalities of the term space architecture are open to some level of interpretation.

Origins:

Ideas of people traveling to space were first published in science fiction stories, like Jules Verne's 1865 From the Earth to the Moon. In this story several details of the mission (crew of three, spacecraft dimensions, Florida launch site) bear striking similarity to the Apollo moon landings that took place more than 100 years later.

Verne's aluminum capsule had shelves stocked with equipment needed for the journey such as a collapsing telescope, pickaxes and shovels, firearms, oxygen generators, and even trees to plant. A curved sofa was built into the floor and walls and windows near the tip of the spacecraft were accessible by ladder. 

The projectile was shaped like a bullet because it was gun-launched from the ground, a method infeasible for transporting man to space due to the high acceleration forces produced. It would take rocketry to get humans to the cosmos.

​The first serious theoretical work published on space travel by means of rocket power was by Konstantin Tsiolkovsky in 1903. Besides being the father of astronautics he conceived such ideas as the space elevator (inspired by the Eiffel Tower), a rotating space station that created artificial gravity along the outer circumference, airlocks, space suits for extra-vehicular activity (EVA), closed ecosystems to provide food and oxygen, and solar power in space. 

Tsiolkovsky believed human occupation of space was the inevitable path for our species. In 1952 Wernher von Braun published his own inhabited space station concept in a series of magazine articles. His design was an upgrade of earlier concepts, but he took the unique step in going directly to the public with it. The spinning space station would have three decks and was to function as a navigational aid, meteorological station,

Earth observatory, military platform, and way point for further exploration missions to outer space. It is said that the space station depicted in 2001: A Space Odyssey traces its design heritage to Von Braun's work. Wernher von Braun went on to devise mission schemes to the Moon and Mars, each time publishing his grand plans in Collier's Weekly.

The flight of Yuri Gagarin on April 12, 1961 was humanity's maiden spaceflight. While the mission was a necessary first step, Gagarin was more or less confined to a chair with a small view port from which to observe the cosmos – a far cry from the possibilities of life in space.

Following space missions gradually improved living conditions and quality of life in low Earth orbit. Expanding room for movement, physical exercise regimens, sanitation facilities, improved food quality, and recreational activities all accompanied longer mission durations.

Architectural involvement in space was realized in 1968 when a group of architects and industrial designers led by Raymond Loewy, over objections from engineers, prevailed in convincing NASA to include an observation window in the Skylab orbital laboratory. This milestone represents the introduction of the human psychological dimension to spacecraft design. Space architecture was born.

Theory:

The subject of architectural theory has much application in space architecture. Some considerations, though, will be unique to the space context.

Ideology of building:
See also: Architectural design values

​In the first century BC, the Roman architect Vitruvius​ said all buildings should have three things: strength, utility, and beauty. Vitruvius's work De Architectura, the only surviving work on the subject from classical antiquity, would have profound influence on architectural theory for thousands of years to come.

Even in space architecture these are some of the first things we consider. However, the tremendous challenge of living in space has led to habitat design based largely on functional necessity with little or no applied ornament. In this sense space architecture as we know it shares the form follows function principle with modern architecture.

Some theorists link different elements of the Vitruvian triad. Walter Gropius writes:
'Beauty' is based on the perfect mastery of all the scientific, technological and formal prerequisites of the task ... The approach of Functionalism means to design the objects organically on the basis of their own contemporary postulates, without any romantic embellishment or jesting."

As space architecture continues to mature as a discipline, dialogue on architectural design values will open up just as it has for Earth.

Analogs:
​
A starting point for space architecture theory is the search for extreme environments in terrestrial settings where humans have lived, and the formation of analogs between these environments and space. For example, humans have lived in submarines deep in the ocean, in bunkers beneath the Earth's surface, and on Antarctica, and have safely entered burning buildings, radioactively contaminated zones, and the stratosphere with the help of technology. 

Aerial refueling enables Air Force One to stay airborne virtually indefinitely. Nuclear powered submarines generate oxygen using electrolysis and can stay submerged for months at a time. Many of these analogs can be very useful design references for space systems.

In fact space station life support systems and astronaut survival gear for emergency landings bear striking similarity to submarine life support systems and military pilot survival kits, respectively.

Space missions, especially human ones, require extensive preparation. In addition to terrestrial analogs providing design insight, the analogous environments can serve as testbeds to further develop technologies for space applications and train astronaut crews.

The Flashline Mars Arctic Research Station is a simulated Mars base, maintained by the Mars Society, on Canada's remote Devon Island. The project aims to create conditions as similar as possible to a real Mars mission and attempts to establish ideal crew size, test equipment "in the field", and determine the best extra-vehicular activity suits and procedures. 

To train for EVAs in microgravity, space agencies make broad use of underwater and simulator training. The Neutral Buoyancy Laboratory, NASA's underwater training facility, contains full-scale mockups of the Space Shuttle cargo bay and International Space Station modules. Technology development and astronaut training in space-analogous environments are essential to making living in space possible.

In space:

Fundamental to space architecture is designing for physical and psychological wellness in space. What often is taken for granted on Earth – air, water, food, trash disposal – must be designed for in fastidious detail. Rigorous exercise regimens are required to alleviate muscular atrophy and other effects of space on the body.

That space missions are (optimally) fixed in duration can lead to stress from isolation. This problem is not unlike that faced in remote research stations or military tours of duty, although non-standard gravity conditions can exacerbate feelings of unfamiliarity and homesickness.

Furthermore, confinement in limited and unchanging physical spaces appears to magnify interpersonal tensions in small crews and contribute to other negative psychological effects. These stresses can be mitigated by establishing regular contact with family and friends on Earth, maintaining health, incorporating recreational activities, and bringing along familiar items such as photographs and green plants. 

The importance of these psychological measures can be appreciated in the 1968 Soviet 'DLB Lunar Base' design: "...it was planned that the units on the Moon would have a false window, showing scenes of the Earth countryside that would change to correspond with the season back in Moscow. The exercise bicycle was equipped with a synchronized film projector, that allowed the cosmonaut to take a 'ride' out of Moscow with return."

​The challenge of getting anything at all to space, due to launch constraints, has had a profound effect on the physical shapes of space architecture. All space habitats to date have used modular architecture design. Payload fairing dimensions (typically the width but also the height) of modern launch vehicles limit the size of rigid components launched into space.

This approach to building large scale structures in space involves launching multiple modules separately and then manually assembling them afterward. Modular architecture results in a layout similar to a tunnel system where passage through several modules is often required to reach any particular destination. It also tends to standardize the internal diameter or width of pressurized rooms, with machinery and furniture placed along the circumference.

These types of space stations and surface bases can generally only grow by adding additional modules in one or more direction. Finding adequate working and living space is often a major challenge with modular architecture. As a solution, flexible furniture (collapsible tables, curtains on rails, deployable beds) can be used to transform interiors for different functions and change the partitioning between private and group space.

For more discussion of the factors that influence shape in space architecture, see the Varieties section.

Eugène Viollet-le-Duc advocated different architectural forms for different materials. This is especially important in space architecture. The mass constraints with launching push engineers to find ever lighter materials with adequate material properties. Moreover, challenges unique to the orbital space environment, such as rapid thermal expansion due to abrupt changes in solar exposure, and corrosion caused by particle and atomic oxygen bombardment, require unique materials solutions.

Just as the industrial age produced new materials and opened up new architectural possibilities, advances in materials technology will change the prospects of space architecture. Carbon-fiber is already being incorporated into space hardware because of its high strength-to-weight ratio.

Investigations are underway to see whether carbon-fiber or other composite materials will be adopted for major structural components in space. The architectural principle that champions using the most appropriate materials and leaving their nature unadorned is called truth to materials.

A notable difference between the orbital context of space architecture and Earth-based architecture is that structures in orbit do not need to support their own weight. This is possible because of the microgravity condition of objects in free fall. In fact much space hardware, such as the Space Shuttle ''s robotic arm, is designed only to function in orbit and would not be able to lift its own weight on the Earth's surface. 

Microgravity also allows an astronaut to move an object of practically any mass, albeit slowly, provided he or she is adequately constrained to another object. Therefore, structural considerations for the orbital environment are dramatically different from those of terrestrial buildings, and the biggest challenge to holding a space station together is usually launching and assembling the components intact.

Construction on extraterrestrial surfaces still needs to be designed to support its own weight, but its weight will depend on the strength of the local gravitational field.

Ground infrastructure:

Human spaceflight currently requires a great deal of supporting infrastructure on Earth. All human orbital missions to date have been government-orchestrated. The organizational body that manages space missions is typically a national space agency, NASA in the case of the United States and Roscosmos for Russia. These agencies are funded at the federal level.

At NASA, flight controllers are responsible for real-time mission operations and work onsite at NASA Centers. Most engineering development work involved with space vehicles is contracted-out to private companies, who in turn may employ subcontractors of their own, while fundamental research and conceptual design is often done in academia through research funding.

Varieties:

Suborbital:

Structures that cross the boundary of space but do not reach orbital speeds are considered suborbital architecture. For spaceplanes, the architecture has much in common with airliner architecture, especially those of small business jets.

SpaceShip:
Main articles: 
​On June 21, 2004, Mike Melvill reached space funded entirely by private means. The vehicle, SpaceShipOne, was developed by Scaled Composites as an experimental precursor to a privately operated fleet of spaceplanes for suborbital space tourism.

The operational spaceplane model, SpaceShipTwo (SS2), will be carried to an altitude of about 15 kilometers by a B-29 Superfortress-sized carrier aircraft, WhiteKnightTwo. From there SS2 will detach and fire its rocket motor to bring the craft to its apogee of approximately 110 kilometers.

Because SS2 is not designed to go into orbit around the Earth, it is an example of suborbital or aerospace architecture.

The architecture of the SpaceShipTwo vehicle is somewhat different from what is common in previous space vehicles. Unlike the cluttered interiors with protruding machinery and many obscure switches of previous vehicles, this cabin looks more like something out of science fiction than a modern spacecraft.

Both SS2 and the carrier aircraft are being built from lightweight composite materials instead of metal. When the time for weightlessness has arrived on a SS2 flight, the rocket motor will be turned off, ending the noise and vibration. Passengers will be able to see the curvature of the Earth. Numerous double-paned windows that encircle the cabin will offer views in nearly all directions. Cushioned seats will recline flat into the floor to maximize room for floating. An always-pressurized interior will be designed to eliminate the need for space suits.

Orbital:

Orbital architecture is the architecture of structures designed to orbit around the Earth or another astronomical object. Examples of currently-operational orbital architecture are the International Space Station and the re-entry vehicles Space Shuttle, Soyuz spacecraft, and Shenzhou spacecraft.

Historical craft include the Mir space station, Skylab, and the Apollo spacecraft. Orbital architecture usually addresses the condition of weightlessness, a lack of atmospheric and magnetospheric protection from solar and cosmic radiation, rapid day/night cycles, and possibly risk of orbital debris collision. In addition, re-entry vehicles must also be adapted both to weightlessness and to the high temperatures and accelerations experienced during atmospheric reentry.

International Space Station:

The International Space Station (ISS) is the only permanently inhabited structure currently in space. It is the size of an American football field and has a crew of six. With a living volume of 358 m³, it has more interior room than the cargo beds of two American 18-wheeler trucks. 

However, because of the microgravity environment of the space station, there are not always well-defined walls, floors, and ceilings and all pressurized areas can be utilized as living and working space.

​The International Space Station is still under construction. Modules were primarily launched using the Space Shuttle until its deactivation and were assembled by its crew with the help of the working crew on board the space station. ISS modules were often designed and built to barely fit inside the shuttle's payload bay, which is cylindrical with a 4.6 meter diameter.

​Life aboard the space station is distinct from terrestrial life in some very interesting ways. Astronauts commonly "float" objects to one another; for example they will give a clipboard an initial nudge and it will coast to its receiver across the room. In fact, an astronaut can become so accustomed to this habit that they forget that it doesn't work anymore when they return to Earth.

The diet of ISS spacefarers is a combination of participating nations' space food. Each astronaut selects a personalized menu before flight. Many food choices reflect the cultural differences of the astronauts, such as bacon and eggs vs. fish products for breakfast (for the US and Russia, respectively). 

More recently such delicacies as Japanense beef curry, kimchi, and swordfish (Riviera style) have been featured on the orbiting outpost. As much of ISS food is dehydrated or sealed in pouches MRE-style, astronauts are quite excited to get relatively fresh food from shuttle and Progress resupply missions.

Food is stored in packages that facilitate eating in microgravity by keeping the food constrained to the table. Spent packaging and trash must be collected to load into an available spacecraft for disposal. Waste management is not nearly as straight forward as it is on Earth.

The ISS has many windows for observing Earth and space, one of the astronauts' favorite leisure activities. Since the Sun rises every 90 minutes, the windows are covered at "night" to help maintain the 24-hour sleep cycle.

When a shuttle is operating in low Earth orbit, the ISS serves as a safety refuge in case of emergency. The inability to fall back on the safety of the ISS during the latest Hubble Space Telescope Servicing Mission (because of different orbital inclinations) was the reason a backup shuttle was summoned to the launch pad. So, ISS astronauts operate with the mindset that they may be called upon to give sanctuary to a Shuttle crew should something happen to compromise a mission.

The International Space Station is a colossal cooperative project between many nations. The prevailing atmosphere on board is one of diversity and tolerance. This does not mean that it is perfectly harmonious. Astronauts experience the same frustrations and interpersonal quarrels as their Earth-based counterparts.

A typical day on the station might start with wakeup at 6:00 am inside a private soundproof booth in the crew quarters. Astronauts would probably find their sleeping bags in an upright position tied to the wall, because orientation does not matter in space. The astronaut's thighs would be lifted about 50 degrees off the vertical. 

This is the neutral body posture in weightlessness – it would be excessively tiring to "sit" or "stand" as is common on Earth. Crawling out of his booth, an astronaut may chat with other astronauts about the day's science experiments, mission control conferences, interviews with Earthlings, and perhaps even a space walk or space shuttle arrival.

Bigelow Aerospace (out of business since March 2020):
See also: TransHab and BA 330

Bigelow Aerospace took the unique step in securing two patents NASA held from development of the Transhab concept in regard to inflatable space structures. The company now has sole rights to commercial development of the inflatable module technology. 

On July 12, 2006 the Genesis I experimental space habitat was launched into low Earth orbit. Genesis I demonstrated the basic viability of inflatable space structures, even carrying a payload of life science experiments. The second module, Genesis II, was launched into orbit on June 28, 2007 and tested out several improvements over its predecessor.

Among these are reaction wheel assemblies, a precision measurement system for guidance, nine additional cameras, improved gas control for module inflation, and an improved on-board sensor suite.

While Bigelow architecture is still modular, the inflatable configuration allows for much more interior volume than rigid modules. The BA-330, Bigelow's full-scale production model, has more than twice the volume of the largest module on the ISS. Inflatable modules can be docked to rigid modules and are especially well suited for crew living and working quarters.

In 2009 NASA began considering attaching a Bigelow module to the ISS, after abandoning the Transhab concept more than a decade before. The modules will likely have a solid inner core for structural support. Surrounding usable space could be partitioned into different rooms and floors. The Bigelow Expandable Activity Module (BEAM) was transported to ISS arriving on April 10, 2016, inside the unpressurized cargo trunk of a SpaceX Dragon during the SpaceX CRS-8 cargo mission.

Bigelow Aerospace may choose to launch many of their modules independently, leasing their use to a wide variety of companies, organizations, and countries that can't afford their own space programs.

Possible uses of this space include microgravity research and space manufacturing. Or we may see a private space hotel composed of numerous Bigelow modules for rooms, observatories, or even a recreational padded gymnasium.

There is the option of using such modules for habitation quarters on long-term space missions in the Solar System. One amazing aspect of spaceflight is that once a craft leaves an atmosphere, aerodynamic shape is a non-issue. For instance it's possible to apply a Trans Lunar Injection to an entire space station and send it to fly by the Moon. Bigelow has expressed the possibility of their modules being modified for lunar and Martian surface systems as well.

Lunar:
See also: Moonbase

Lunar architecture exists both in theory and in practice. Today the archeological artifacts of temporary human outposts lay untouched on the surface of the Moon. Five Apollo Lunar Module descent stages stand upright in various locations across the equatorial region of the Near Side, hinting at the extraterrestrial endeavors of mankind.

The leading hypothesis on the origin of the Moon did not gain its current status until after lunar rock samples were analyzed. The Moon is the furthest any humans have ever ventured from their home, and space architecture is what kept them alive and allowed them to function as humans.

Apollo:

On the cruise to the Moon, Apollo astronauts had two "rooms" to choose from – the Command Module (CM) or the Lunar Module (LM).

This can be seen in the film Apollo 13 where the three astronauts were forced to use the LM as an emergency life boat. Passage between the two modules was possible through a pressurized docking tunnel, a major advantage over the Soviet design, which required donning a spacesuit to switch modules.

The Command Module featured five windows made of three thick panes of glass. The two inner panes, made of aluminosilicate, ensured no cabin air leaked into space. The outer pane served as a debris shield and part of the heat shield needed for atmospheric reentry.

The CM was a sophisticated spacecraft with all the systems required for successful flight but with an interior volume of 6.17 m3 could be considered cramped for three astronauts. It had its design weaknesses such as no toilet (astronauts used much-hated 'relief tubes' and fecal bags). The coming of the space station would bring effective life support systems with waste management and water reclamation technologies.

The Lunar Module had two stages. A pressurized upper stage, termed the Ascent stage, was the first true spaceship as it could only operate in the vacuum of space. The Descent stage carried the engine used for descent, landing gear and radar, fuel and consumables, the famous ladder, and the Lunar Rover during later Apollo missions.

The idea behind staging is to reduce mass later in a flight, and is the same strategy used in an Earth-launched multistage rocket. The LM pilot stood up during the descent to the Moon.

Landing was achieved via automated control with a manual backup mode. There was no airlock on the LM so the entire cabin had to be evacuated (air vented to space) in order to send an astronaut out to walk on the surface. To stay alive, both astronauts in the LM would have to get in their space suits at this point. The Lunar Module worked well for what it was designed to do.

However, a big unknown remained throughout the design process – the effects of lunar dust. Every astronaut who walked on the Moon tracked in lunar dust, contaminating the LM and later the CM during Lunar Orbit Rendezvous. These dust particles can't be brushed away in a vacuum, and have been described by John Young of Apollo 16 as being like tiny razor blades.

It was soon realized that for humans to live on the Moon, dust mitigation was one of many issues that had to be taken seriously.

Constellation program:

The Exploration Systems Architecture Study that followed the Vision for Space Exploration of 2004 recommended the development of a new class of vehicles that have similar capabilities to their Apollo predecessors with several key differences.

In part to retain some of the Space Shuttle program workforce and ground infrastructure, the launch vehicles were to use Shuttle-derived technologies. Secondly, rather than launching the crew and cargo on the same rocket, the smaller Ares I was to launch the crew with the larger Ares V to handle the heavier cargo.

The two payloads were to rendezvous in low Earth orbit and then head to the Moon from there. The Apollo Lunar Module could not carry enough fuel to reach the polar regions of the Moon but the Altair lunar lander was intended to access any part of the Moon.

While the Altair and surface systems would have been equally necessary for Constellation program to reach fruition, the focus was on developing the Orion spacecraft to shorten the gap in US access to orbit following the retirement of the Space Shuttle in 2010.

Even NASA has described Constellation architecture as 'Apollo on steroids'. Nonetheless, a return to the proven capsule design is a move welcomed by many.

Martian:
See also: Mars habitat and Colonization of Mars

Martian architecture is architecture designed to sustain human life on the surface of Mars, and all the supporting systems necessary to make this possible. The direct sampling of water ice on the surface, and evidence for geyser-like water flows within the last decade have made Mars the most likely extraterrestrial environment for finding liquid water, and therefore alien life, in the Solar System.

Moreover, some geologic evidence suggests that Mars could have been warm and wet on a global scale in its distant past. Intense geologic activity has reshaped the surface of the Earth, erasing evidence of our earliest history. Martian rocks can be even older than Earth rocks, though, so exploring Mars may help us decipher the story of our own geologic evolution including the origin of life on Earth. 

Mars has an atmosphere, though its surface pressure is less than 1% of Earth's. Its surface gravity is about 38% of Earth's. Although a human expedition to Mars has not yet taken place, there has been significant work on Martian habitat design. Martian architecture usually falls into one of two categories: architecture imported from Earth fully assembled and architecture making use of local resources.

Von Braun and other early proposals:

Wernher von Braun was the first to come up with a technically comprehensive proposal for a manned Mars expedition. Rather than a minimal mission profile like Apollo, von Braun envisioned a crew of 70 astronauts aboard a fleet of ten massive spacecraft. Each vessel would be constructed in low Earth orbit, requiring nearly 100 separate launches before one was fully assembled. Seven of the spacecraft would be for crew while three were designated as cargo ships.

There were even designs for small "boats" to shuttle crew and supplies between ships during the cruise to the Red Planet, which was to follow a minimum-energy Hohmann transfer trajectory. This mission plan would involve one-way transit times on the order of eight months and a long stay at Mars, creating the need for long-term living accommodations in space.

Upon arrival at the Red Planet, the fleet would brake into Mars orbit and would remain there until the seven human vessels were ready to return to Earth. Only landing gliders, which were stored in the cargo ships, and their associated ascent stages would travel to the surface.

​Inflatable habitats would be constructed on the surface along with a landing strip to facilitate further glider landings. All necessary propellant and consumables were to be brought from Earth in von Braun's proposal.

Some crew remained in the passenger ships during the mission for orbit-based observation of Mars and to maintain the ships. The passenger ships had habitation spheres 20 meters in diameter. Because the average crew member would spend much time in these ships (around 16 months of transit plus rotating shifts in Mars orbit), habitat design for the ships was an integral part of this mission.

Von Braun was aware of the threat posed by extended exposure to weightlessness. He suggested either tethering passenger ships together to spin about a common center of mass or including self-rotating, dumbbell-shaped "gravity cells" to drift alongside the flotilla to provide each crew member with a few hours of artificial gravity each day. 

At the time of von Braun's proposal, little was known of the dangers of solar radiation beyond Earth and it was cosmic radiation that was thought to present the more formidable challenge. 

The discovery of the Van Allen belts in 1958 demonstrated that the Earth was shielded from high energy solar particles. For the surface portion of the mission, inflatable habitats suggest the desire to maximize living space. It is clear von Braun considered the members of the expedition part of a community with much traffic and interaction between vessels.

The Soviet Union conducted studies of human exploration of Mars and came up with slightly less epic mission designs (though not short on exotic technologies) in 1960 and 1969. The first of which used electric propulsion for interplanetary transit and nuclear reactors as the power plants.

On spacecraft that combine human crew and nuclear reactors, the reactor is usually placed at a maximum distance from the crew quarters, often at the end of a long pole, for radiation safety. An interesting component of the 1960 mission was the surface architecture. A "train" with wheels for rough terrain was to be assembled of landed research modules, one of which was a crew cabin. The train was to traverse the surface of Mars from south pole to north pole, an extremely ambitious goal even by today's standards. 

Other Soviet plans such as the TMK eschewed the large costs associated with landing on the Martian surface and advocated piloted (manned) flybys of Mars. Flyby missions, like the lunar Apollo 8, extend the human presence to other worlds with less risk than landings.

Most early Soviet proposals called for launches using the ill-fated N1 rocket. They also usually involved fewer crew than their American counterparts. Early Martian architecture concepts generally featured assembly in low Earth orbit, bringing all needed consumables from Earth, and designated work vs. living areas. The modern outlook on Mars exploration is not the same.

Recent initiatives:

In every serious study of what it would take to land humans on Mars, keep them alive, and then return them to Earth, the total mass required for the mission is simply stunning. The problem lies in that to launch the amount of consumables (oxygen, food and water) even a small crew would go through during a multi-year Mars mission, it would take a very large rocket with the vast majority of its own mass being propellant.

This is where multiple launches and assembly in Earth orbit come from. However even if such a ship stocked full of goods could be put together in orbit, it would need an additional (large) supply of propellant to send it to Mars.

​The delta-v, or change in velocity, required to insert a spacecraft from Earth orbit to a Mars transfer orbit is many kilometers per second. When we think of getting astronauts to the surface of Mars and back home we quickly realize that an enormous amount of propellant is needed if everything is taken from the Earth. This was the conclusion reached in the 1989 '90-Day Study' initiated by NASA in response to the Space Exploration Initiative.

​​Several techniques have changed the outlook on Mars exploration. The most powerful of which is in-situ resource utilization. Using hydrogen imported from Earth and carbon dioxide from the Martian atmosphere, the Sabatier reaction can be used to manufacture methane (for rocket propellant) and water (for drinking and for oxygen production through electrolysis).

Another technique to reduce Earth-brought propellant requirements is aerobraking. Aerobraking involves skimming the upper layers of an atmosphere, over many passes, to slow a spacecraft down. It's a time-intensive process that shows most promise in slowing down cargo shipments of food and supplies.

NASA's Constellation program does call for landing humans on Mars after a permanent base on the Moon is demonstrated, but details of the base architecture are far from established. It is likely that the first permanent settlement will consist of consecutive crews landing prefabricated habitat modules in the same location and linking them together to form a base.

In some of these modern, economy models of the Mars mission, we see the crew size reduced to a minimal 4 or 6. Such a loss in variety of social relationships can lead to challenges in forming balanced social responses and forming a complete sense of identity. 

It follows that if long-duration missions are to be carried out with very small crews, then intelligent selection of crew is of primary importance. Role assignments is another open issue in Mars mission planning. The primary role of 'pilot' is obsolete when landing takes only a few minutes of a mission lasting hundreds of days, and when that landing will be automated anyway. Assignment of roles will depend heavily on the work to be done on the surface and will require astronauts to assume multiple responsibilities.

As for surface architecture inflatable habitats, perhaps even provided by Bigelow Aerospace, remain a possible option for maximizing living space. In later missions, bricks could be made from a Martian regolith mixture for shielding or even primary, airtight structural components. The environment on Mars offers different opportunities for space suit design, even something like the skin-tight Bio-Suit.

A number of specific habitat design proposals have been put forward, to varying degrees of architectural and engineering analysis. One recent proposal—and the winner of NASA's 2015 Mars Habitat Competition—is Mars Ice House. The design concept is for a Mars surface habitat, 3d-printed in layers out of water ice on the interior of an Earth-manufactured inflatable pressure-retention membrane.

The completed structure would be semi-transparent, absorbing harmful radiation in several wavelengths, while admitting approximately 50 percent of light in the visible spectrum. The habitat is proposed to be entirely set up and built from an autonomous robotic spacecraft and bots, although human habitation with approximately 2–4 inhabitants is envisioned once the habitat is fully built and tested.
​
Robotic:

It is widely accepted that robotic reconnaissance and trail-blazer missions will precede human exploration of other worlds. Making an informed decision on which specific destinations warrant sending human explorers requires more data than what the best Earth-based telescopes can provide.

For example, landing site selection for the Apollo landings drew on data from three different robotic programs: the Ranger program, the Lunar Orbiter program, and the Surveyor program. Before a human was sent, robotic spacecraft mapped the lunar surface, proved the feasibility of soft landings, filmed the terrain up close with television cameras, and scooped and analysed the soil.

A robotic exploration mission is generally designed to carry a wide variety of scientific instruments, ranging from cameras sensitive to particular wavelengths, telescopes, spectrometers, radar devices, accelerometers, radiometers, and particle detectors to name a few.

The function of these instruments is usually to return scientific data but it can also be to give an intuitive "feel" of the state of the spacecraft, allowing a subconscious familiarization with the territory being explored, through telepresence. A good example of this is the inclusion of HDTV cameras on the Japanese lunar orbiter SELENE. While purely scientific instruments could have been brought in their stead, these cameras allow the use of an innate sense to perceive the exploration of the Moon.

The modern, balanced approach to exploring an extraterrestrial destination involves several phases of exploration, each of which needs to produce rationale for progressing to the next phase. The phase immediately preceding human exploration can be described as anthropocentric sensing, that is, sensing designed to give humans as realistic a feeling as possible of actually exploring in person. More, the line between a human system and a robotic system in space is not always going to be clear.

As a general rule, the more formidable the environment, the more essential robotic technology is. Robotic systems can be broadly considered part of space architecture when their purpose is to facilitate the habitation of space or extend the range of the physiological senses into space.

Future:

The future of space architecture hinges on the expansion of human presence in space. Under the historical model of government-orchestrated exploration missions initiated by single political administrations, space structures are likely to be limited to small-scale habitats and orbital modules with design life cycles of only several years or decades. 

The designs, and thus architecture, will generally be fixed and without real time feedback from the spacefarers themselves. The technology to repair and upgrade existing habitats, a practice widespread on Earth, is not likely to be developed under short term exploration goals.

If exploration takes on a multi-administration or international character, the prospects for space architecture development by the inhabitants themselves will be broader. Private space tourism is a way the development of space and a space transportation infrastructure can be accelerated. Virgin Galactic has indicated plans for an orbital craft, SpaceShipThree.

The demand for space tourism is one without bound. It is not difficult to imagine lunar parks or cruises by Venus. Another impetus to become a spacefaring species is planetary defense.

The classic space mission is the Earth-colliding asteroid interception mission. Using nuclear detonations to split or deflect the asteroid is risky at best. Such a tactic could actually make the problem worse by increasing the amount of asteroid fragments that do end up hitting the Earth. 

Robert Zubrin writes: "If bombs are to be used as asteroid deflectors, they cannot just be launched willy-nilly. No, before any bombs are detonated, the asteroid will have to be thoroughly explored, its geology assessed, and subsurface bomb placements carefully determined and precisely located on the basis of such knowledge. A human crew, consisting of surveyors, geologists, miners, drillers, and demolition experts, will be needed on the scene to do the job right."

​If such a crew is to be summoned to a distant asteroid, there may be less risky ways to divert the asteroid. Another promising asteroid mitigation strategy is to land a crew on the asteroid well ahead of its impact date and to begin diverting some its mass into space to slowly alter its trajectory. This is a form of rocket propulsion by virtue of Newton's third law with the asteroid's mass as the propellant.

Whether exploding nuclear weapons or diversion of mass is used, a sizable human crew may need to be sent into space for many months if not years to accomplish this mission. Questions such as what the astronauts will live in and what the ship will be like are questions for the space architect.

When motivations to go into space are realized, work on mitigating the most serious threats
can begin. One of the biggest threats to astronaut safety in space is sudden radiation events from solar flares. The violent solar storm of August 1972, which occurred between the Apollo 16 and Apollo 17 missions, could have produced fatal consequences had astronauts been caught exposed on the lunar surface. 

The best known protection against radiation in space is shielding; an especially effective shield is water contained in large tanks surrounding the astronauts. Unfortunately water has a mass of 1000 kilograms per cubic meter. A more practical approach would be to construct solar "storm shelters" that spacefarers can retreat to during peak events. 

For this to work, however, there would need to be a space weather broadcasting system in place to warn astronauts of upcoming storms, much like a tsunami warning system warns coastal inhabitants of impending danger. Perhaps one day a fleet of robotic spacecraft will orbit close to the Sun, monitoring solar activity and sending precious minutes of warning before waves of dangerous particles arrive at inhabited regions of space.

Nobody knows what the long-term human future in space will be. Perhaps after gaining experience with routine spaceflight by exploring different worlds in the Solar System and deflecting a few asteroids, the possibility of constructing non-modular space habitats and infrastructure will be within capability. 

​Such possibilities include mass drivers on the Moon, which launch payloads into space using only electricity, and spinning space colonies with closed ecological systems. A Mars in the early stages of terraformation, where inhabitants only need simple oxygen masks to walk out on the surface, may be seen. In any case, such futures require space architecture.

Click on any of the following blue hyperlinks for more about Space Architecture:
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 High-tech ArchitecturePictured below: Lloyd’s Building ​in London, England is a perfect example of high tech architecture.

High-tech architecture, also known as structural expressionism, is a type of Late Modern architectural style that emerged in the 1970s, incorporating elements of high tech industry and technology into building design.

High-tech architecture grew from the modernist style, utilizing new advances in technology and building materials. It emphasizes transparency in design and construction, seeking to communicate the underlying structure and function of a building throughout its interior and exterior.

High-tech architecture makes extensive use of aluminium, steel, glass, and to a lesser extent concrete (the technology for which had developed earlier), as these materials were becoming more advanced and available in a wider variety of forms at the time the style was developing - generally, advancements in a trend towards lightness of weight.

High-tech architecture focuses on creating adaptable buildings through choice of materials, internal structural elements, and programmatic design. It seeks to avoid links to the past, and as such eschews building materials commonly used in older styles of architecture.

Common elements include hanging or overhanging floors, a lack of internal load-bearing walls, and reconfigurable spaces. Some buildings incorporate prominent, bright colors in an attempt to evoke the sense of a drawing or diagram. High-tech utilizes a focus on factory aesthetics and a large central space serviced by many smaller maintenance areas to evoke a feeling of openness, honesty, and transparency.

​Early high-tech buildings were referred to by historian Reyner Banham as "serviced sheds" due to their exposure of mechanical services in addition to the structure. Most of these early examples used exposed structural steel as their material of choice.

As hollow structural sections, (developed by Stewarts and Lloyds and known in the UK as Rectangular Hollow Section (RHS)) had only become widely available in the early 1970s, high-tech architecture saw much experimentation with this material.

The style's premier practitioners include the following: 
Background:

High-tech architecture was originally developed in Britain, (British High Tech architecture) with many of its most famous early proponents being British. However, the movement has roots in a number of earlier styles and draws inspiration from a number of architects from earlier periods.

Many of the ideals communicated through high-tech architecture were derived from the early modernists of the 1920s. The concepts of transparency, honesty in materials, and a fascination with the aesthetics of industry can all be traced to modern architects.

High-tech architecture, much like modernism, shares a belief in a "spirit of the age" that should be incorporated and applied throughout each building. The influence of Le Corbusier, Walter Gropius, and Mies van de Rohe is extensive throughout many of the principles and designs of high-tech architecture.

Some of the earliest practitioners of high-tech architecture included the British architecture group Archigram, whose members frequently designed advanced futuristic buildings and cities. On the most influential of these was Peter Cook's Plug-in City, a theoretical mega structure designed around the detach-ability and replacement of each of its individual units.

The concept of removable and interchangeable elements of buildings would later become a widespread characteristic within the high-tech style. Less direct precursors included Buckminster Fuller and Frei Otto, whose focus on minimizing construction resources generated an emphasis on tensile structures, another important element in many high-tech designs. 

Louis Kahn's concept of "served" and "servant" spaces, particularly when implemented in the form of service towers, later became a widespread feature of high-tech architecture.

Other projects and designs that contained or inspired elements common across the high-tech style include the Archigram member Mike Webb's concept of bowellism, the Fun Palace by Cedric Price, and the Walking City by Ron Herron, also a member of Archigram.

These theoretical designs, along with many others, were circulated widely in British and American architectural circles due to their examination by Reyner Banham. These conceptual plans laid out the ideas and elements that would later go on to be hugely influential in the works of prominent high-tech architects like Norman Foster and Nicholas Grimshaw.

Characteristics:
​
High-tech buildings often incorporate a range of materials reminiscent of industrial production. Steel, aluminium, glass, and concrete are all commonly found in high-tech structures, as these elements evoke a feeling of being mass-produced and widely available.

Not all high-tech designs are made to accommodate truly mass-produced materials, but nonetheless seek to convey a sense of factory creation and broad distribution. Tensile structures, cross beams, and exposed support and maintenance elements are all important components found in high-tech designs.

A focus on strong, simplistic, and transparent elements all connect high-tech as a style to the principles of engineering. The engineer Anthony Hunt was hugely influential in both the design, choice of materials, and ultimate expression of many of the earliest high-tech buildings in Britain, and as such many of these designs are suffused with a focus on the aesthetics of engineering and construction.

Buildings built in the high-tech style often share a number of characteristic layout elements. These include an open floor plan, a large central area serviced by many smaller maintenance spaces, and repeated elements which either can be or appear to be able to be detached and replaced as needed. Spaces or elements dedicated to service and mechanical components like air conditioners, water processors, and electrical equipment are left exposed and visible to the viewer.

Often these spaces are placed in large service towers external to the building, as in the Lloyd's building in London by Richard Rogers. The Lloyd's building also has offices designed to be changed and configured as needed by the shifting and removal of partitions - creating a flexible and adaptable interior environment that can be changed to meet the needs of the building's occupants.

This theme of reconfigurable spaces is an important component of high-tech buildings. The HSBC Building in Hong Kong, designed by Norman Foster, is another excellent example of a high-tech building designed to be changed over time according to the needs of its users. Its use of suspended floor panels and the design of its social spaces as individual towers both place emphasis on the new approach to creating and servicing an office building.

The high-tech style is often interpreted as glorifying technology and emphasizing the functional purpose of each element of the building. These designs incorporate elements that obviously display the technical nature of the components within them, creating a sense of honest, open transparency.

The Centre Pompidou in Paris, by Renzo Piano and Richard Rogers, exemplifies the technicality and focus on the exposure of service elements. The externalization of functional components is a key concept of high-tech architecture, though this technique may also be applied to generate an aesthetic of dynamic light and shadow across the facade of a building.

Color also plays an important role in the decoration of high-tech buildings, as various colors can be used to represent different service elements or to give the building the appearance of a set of architectural diagrams.

As of 2016, recent Structural Impressionism has two major trends: braced systems and diagrid systems. Both structural systems have the structural support elements visible from the outside, unlike many postmodern architecture buildings where most structural elements are hidden in the interior. The braced systems have strong exterior columns connected by "heavy" cross bracing elements. The diagrid system consists of a lattice of "light" diagonal elements and horizontal rings forming triangles, without vertical columns.

Goals:

High-tech architecture attempts to embody a series of ideals that its practitioners felt were reflective of the "spirit of the age". Concerns over adaptability, sustainability, and the changing industrial world drove a shift in the way that many architects around the world approached the challenge of designing buildings.

Norman Foster's HSBC Building was specifically designed to be built over a public plaza, so as not to take up more land in space conscious Hong Kong. Minoru Yamasaki's World Trade Center had centered around a five-acre, raised public plaza, completely devoid of cars, so pedestrians could walk freely through the complex.

Additionally, the World Trade Center had led to the construction of a brand new PATH station, serving the rail commuters coming from New Jersey into New York. This approach to building, with the architect having just as much responsibility to the city surrounding their building as the building itself, was a key theme of many structures designed in the high-tech style.

The appropriate utilization and distribution of space is often an integral component of high-tech theory, and as such these ideals are often found in concert with practical concerns over habitability and practicality of design.

At the core of many high-tech buildings is the concept of the "omniplatz". This is the idea that a building and the spaces within it should not necessarily be absolutely defined, but rather perform a range of desired functions. As such, a room in a high-tech building could be used as a factory floor, a storage room, or a financial trading center all with minimal re-distribution of structural elements.

The external services of a high-tech building, in this understanding of the style, exist solely to make the central space habitable and do not define its function. This can lead to an effect wherein the maintenance elements of a building can be understood and interpreted without issue, but the function of the interior space is difficult to guess. The Lloyd's building is an excellent example of this, wherein its service towers quite clearly communicate their function but the usage of the central atrium is difficult to determine from the exterior.

While the goal of many high-tech buildings is to honestly and transparently communicate their form and function, practical considerations may prevent the absolute expression of this principle. The Centre Pompidou, for example, has several elements that are built up or covered over due to concerns over fire safety and structural soundness. In many cases high-tech buildings exhibit compromises between radical honesty in design and considerations of safety in implementation. High-tech architecture balances art and engineering as its primary themes, and as such incurs trade-offs between the aesthetics of the two disciplines.

High-tech architecture has generated some criticism for its forays into home building and design, an issue it shares in common with Modernism. Many of the houses designed by high-tech architects were never inhabited by anyone other than themselves or their close relatives. Many outside observers found the high-tech style's focus on industry and expression of services to be antithetical to comfort and home living. Norman Foster's housing at Milton Keynes was never particularly popular, and other high-tech designs were seen as uncomfortable or awkward to live in.

High-tech architecture was most commonly employed in the construction of factories, corporate offices, or art galleries, all spaces that could effectively leverage the aesthetic of industry and find good use for the flexible spaces the style created. The application of technological themes throughout high-tech buildings intends to convey an ethos of science and progress.

While transparency and honesty of materials is heavily valued, high-tech designs strive to evoke an ever dynamic sense of movement and change. Adaptability, flexibility, and openness are all key aims of the high-tech style. To obviously and creatively display the functional nature of service elements and to clearly communicate the changeable nature of the spaces created inside them are important goals of the vast majority of high-tech buildings.

For examples of  High-tech Architecture, click here.








Structural Integrity and Failure Caused Surfside, Florida condominium collapse on 6/24/2021Pictured below: Champlain Towers South shortly after the collapse
Structural integrity and failure:

Structural integrity and failure is an aspect of engineering that deals with the ability of a structure to support a designed structural load (weight, force, etc.) without breaking and includes the study of past structural failures in order to prevent failures in future designs.

Structural integrity is the ability of an item—either a structural component or a structure consisting of many components—to hold together under a load, including its own weight, without breaking or deforming excessively. It assures that the construction will perform its designed function during reasonable use, for as long as its intended life span.

Items are constructed with structural integrity to prevent catastrophic failure, which can result in injuries, severe damage, death, and/or monetary losses.

Structural failure refers to the loss of structural integrity, or the loss of load-carrying capacity in either a structural component or the structure itself.

Structural failure is initiated when a material is stressed beyond its strength limit, causing fracture or excessive deformations; one limit state that must be accounted for in structural design is ultimate failure strength.

In a well designed system, a localized failure should not cause immediate or even progressive collapse of the entire structure.
​
Introduction:

Structural integrity is the ability of a structure to withstand its intended loading without failing due to fracture, deformation, or fatigue. It is a concept often used in engineering to produce items that will serve their designed purposes and remain functional for a desired service life.

To construct an item with structural integrity, an engineer must first consider a material’s mechanical properties, such as toughness, strength, weight, hardness, and elasticity, and then determine the size and shape necessary for the material to withstand the desired load for a long life. Since members can neither break nor bend excessively, they must be both stiff and tough. A very stiff material may resist bending, but unless it is sufficiently tough, it may have to be very large to support a load without breaking. On the other hand, a highly elastic material will bend under a load even if its high toughness prevents fracture.

Furthermore, each component’s integrity must correspond to its individual application in any load-bearing structure. Bridge supports need a high yield strength, whereas the bolts that hold them need good shear and tensile strength. Springs need good elasticity, but lathe tooling needs high rigidity. In addition, the entire structure must be able to support its load without its weakest links failing, as this can put more stress on other structural elements and lead to cascading failures.

History:

The need to build structures with integrity goes back as far as recorded history. Houses needed to be able to support their own weight, plus the weight of the inhabitants. Castles needed to be fortified to withstand assaults from invaders. Tools needed to be strong and tough enough to do their jobs. However, the science of fracture mechanics as it exists today was not developed until the 1920s, when Alan Arnold Griffith studied the brittle fracture of glass.

Starting in the 1940s, the infamous failures of several new technologies made a more scientific method for analyzing structural failures necessary. During World War II, over 200 welded-steel ships broke in half due to brittle fracture, caused by stresses created from the welding process, temperature changes, and by the stress concentrations at the square corners of the bulkheads.

In the 1950s, several De Havilland Comets exploded in mid-flight due to stress concentrations at the corners of their squared windows, which caused cracks to form and the pressurized cabins to explode. Boiler explosions, caused by failures in pressurized boiler tanks, were another common problem during this era, and caused severe damage.

The growing sizes of bridges and buildings led to even greater catastrophes and loss of life. This need to build constructions with structural integrity led to great advances in the fields of material sciences and fracture mechanics.

Types of failure;

​Structural failure can occur from many types of problems, most of which are unique to different industries and structural types. However, most can be traced to one of five main causes.
  • The first is that the structure is not strong and tough enough to support the load, due to either its size, shape, or choice of material. If the structure or component is not strong enough, catastrophic failure can occur when the structure is stressed beyond its critical stress level.
  • The second type of failure is from fatigue or corrosion, caused by instability in the structure’s geometry, design or material properties. These failures usually begin when cracks form at stress points, such as squared corners or bolt holes too close to the material's edge. These cracks grow as the material is repeatedly stressed and unloaded (cyclic loading), eventually reaching a critical length and causing the structure to suddenly fail under normal loading conditions.
  • The third type of failure is caused by manufacturing errors, including improper selection of materials, incorrect sizing, improper heat treating, failing to adhere to the design, or shoddy workmanship. This type of failure can occur at any time and is usually unpredictable.
  • The fourth type of failure is from the use of defective materials. This type of failure is also unpredictable, since the material may have been improperly manufactured or damaged from prior use.
  • The fifth cause of failure is from lack of consideration of unexpected problems. This type of failure can be caused by events such as vandalism, sabotage, or natural disasters. It can also occur if those who use and maintain the construction are not properly trained and overstress the structure.

Notable failures:
Further information: List of structural failures and collapses

Bridges:
See also: List of bridge disasters

Dee bridge:
Main article: Dee bridge disaster

​The Dee bridge was designed by Robert Stephenson, using cast iron girders reinforced with wrought iron struts. On 24 May 1847, it collapsed as a train passed over it, killing five people. Its collapse was the subject of one of the first formal inquiries into a structural failure. This inquiry concluded that the design of the structure was fundamentally flawed, as the wrought iron did not reinforce the cast iron, and that the casting had failed due to repeated flexing.

First Tay Rail Bridge:
Main article: Tay Bridge disaster

The Dee bridge disaster was followed by a number of cast iron bridge collapses, including the collapse of the first Tay Rail Bridge on 28 December 1879. Like the Dee bridge, the Tay collapsed when a train passed over it, killing 75 people. The bridge failed because it was constructed from poorly made cast iron, and because designer Thomas Bouch failed to consider wind loading on it. Its collapse resulted in cast iron being replaced by steel construction, and a complete redesign in 1890 of the Forth Railway Bridge, making it the first entirely steel bridge in the world.

First Tacoma Narrows Bridge:
Main article: Tacoma Narrows Bridge (1940)

The 1940 collapse of the original Tacoma Narrows Bridge is sometimes characterized in physics textbooks as a classic example of resonance, although this description is misleading.

The catastrophic vibrations that destroyed the bridge were not due to simple mechanical resonance, but to a more complicated oscillation between the bridge and winds passing through it, known as aeroelastic flutter. 

Robert H. Scanlan, a leading contributor to the understanding of bridge aerodynamics, wrote an article about this misunderstanding. This collapse, and the research that followed, led to an increased understanding of wind/structure interactions. Several bridges were altered following the collapse to prevent a similar event occurring again. The only fatality was a dog named Tubby.

I-35W Bridge:
Main article: I-35W Mississippi River bridge
​
The I-35W Mississippi River bridge (officially known simply as Bridge 9340) was an eight-lane steel truss arch bridge that carried Interstate 35W across the Mississippi River in Minneapolis, Minnesota, United States. The bridge was completed in 1967, and its maintenance was performed by the Minnesota Department of Transportation.

The bridge was Minnesota's fifth–busiest, carrying 140,000 vehicles daily. The bridge catastrophically failed during the evening rush hour on 1 August 2007, collapsing to the river and riverbanks beneath. Thirteen people were killed and 145 were injured.

Following the collapse, the Federal Highway Administration advised states to inspect the 700 U.S. bridges of similar construction after a possible design flaw in the bridge was discovered, related to large steel sheets called gusset plates which were used to connect girders together in the truss structure. 

Officials expressed concern about many other bridges in the United States sharing the same design and raised questions as to why such a flaw would not have been discovered in over 40 years of inspections.

Buildings:
See also the categories Building collapses and Collapsed buildings and structures

Thane building collapse:
Main article: 2013 Thane building collapse

On 4 April 2013, a building collapsed on tribal land in Mumbra, a suburb of Thane in Maharashtra, India. It has been called the worst building collapse in the area: 74 people died, including 18 children, 23 women, and 33 men, while more than 100 people survived.

The building was under construction and did not have an occupancy certificate for its 100 to 150 low- to middle-income residents; its only occupants were the site construction workers and their families. The building was reported to have been illegally constructed because standard practices were not followed for safe, lawful construction, land acquisition and resident occupancy.

By 11 April, a total of 15 suspects were arrested including builders, engineers, municipal officials, and other responsible parties. Governmental records indicate that there were two orders to manage the number of illegal buildings in the area: a 2005 Maharashtra state order to use remote sensing and a 2010 Bombay High Court order. Complaints were also made to state and municipal officials.

On 9 April, the Thane Municipal Corporation began a campaign to demolish illegal buildings in the area, focusing on “dangerous” buildings, and set up a call center to accept and track the resolutions of complaints about illegal buildings. The forest department, meanwhile, promised to address encroachment of forest land in the Thane District.

Savar building collapse:
Main article: 2013 Savar building collapse

On 24 April 2013, Rana Plaza, an eight-story commercial building, collapsed in Savar, a sub-district in the Greater Dhaka Area, the capitol of Bangladesh. The search for the dead ended on 13 May with the death toll of 1,134. Approximately 2,515 injured people were rescued from the building alive.

It is considered to be the deadliest garment-factory accident in history, as well as the deadliest accidental structural failure in modern human history.

The building contained clothing factories, a bank, apartments, and several other shops. The shops and the bank on the lower floors immediately closed after cracks were discovered in the building. Warnings to avoid using the building after cracks appeared the day before had been ignored. Garment workers were ordered to return the following day and the building collapsed during the morning rush-hour.

Sampoong Department Store collapse:
Main article: Sampoong Department Store collapse

On 29 June 1995, the five-story Sampoong Department Store in the Seocho District of Seoul, South Korea collapsed resulting in the deaths of 502 people, with another 1,445 being trapped.

In April 1995, cracks began to appear in the ceiling of the fifth floor of the store's south wing due to the presence of an air-conditioning unit on the weakened roof of the poorly built structure. On the morning of 29 June, as the number of cracks in the ceiling increased dramatically, store managers closed the top floor and shut off the air conditioning, but failed to shut the building down or issue formal evacuation orders as the executives themselves left the premises as a precaution.

Five hours before the collapse, the first of several loud bangs was heard emanating from the top floors, as the vibration of the air conditioning caused the cracks in the slabs to widen further. Amid customer reports of vibration in the building, the air conditioning was turned off but, the cracks in the floors had already grown to 10 cm wide. At about 5:00 p.m. local time, the fifth-floor ceiling began to sink, and at 5:57 p.m., the roof gave way, sending the air conditioning unit crashing through into the already-overloaded fifth floor.

Ronan Point:
Main article: Ronan Point

On 16 May 1968, the 22-story residential tower Ronan Point in the London Borough of Newham collapsed when a relatively small gas explosion on the 18th floor caused a structural wall panel to be blown away from the building.

The tower was constructed of precast concrete, and the failure of the single panel caused one entire corner of the building to collapse. The panel was able to be blown out because there was insufficient reinforcement steel passing between the panels. This also meant that the loads carried by the panel could not be redistributed to other adjacent panels, because there was no route for the forces to follow. As a result of the collapse, building regulations were overhauled to prevent disproportionate collapse and the understanding of precast concrete detailing was greatly advanced.

Many similar buildings were altered or demolished as a result of the collapse.

Oklahoma City bombing:
Main article: Oklahoma City bombing

On 19 April 1995, the nine-story concrete framed Alfred P. Murrah Federal Building in Oklahoma was struck by a truck bomb causing partial collapse, resulting in the deaths of 168 people. The bomb, though large, caused a significantly disproportionate collapse of the structure.

The bomb blew all the glass off the front of the building and completely shattered a ground floor reinforced concrete column (see brisance). At second story level a wider column spacing existed, and loads from upper story columns were transferred into fewer columns below by girders at second floor level.

The removal of one of the lower story columns caused neighboring columns to fail due to the extra load, eventually leading to the complete collapse of the central portion of the building. The bombing was one of the first to highlight the extreme forces that blast loading from terrorism can exert on buildings, and led to increased consideration of terrorism in structural design of buildings.

Versailles wedding hall:
Main article: Versailles wedding hall disaster

The Versailles wedding hall (Hebrew: אולמי ורסאי‎), located in Talpiot, Jerusalem, is the site of the worst civil disaster in Israel's history. At 22:43 on Thursday night, 24 May 2001 during the wedding of Keren and Asaf Dror, a large portion of the third floor of the four-story building collapsed, killing 23 people.

World Trade Center Towers 1, 2, and 7:
Main article: Collapse of the World Trade Center

In the September 11 attacks, two commercial airliners were deliberately crashed into the Twin Towers of the World Trade Center in New York City. The impact and resulting fires caused both towers to collapse within less than two hours. The impacts severed exterior columns and damaged core columns, redistributing the loads that these columns had carried.

This redistribution of loads was greatly influenced by the hat trusses at the top of each building. The impacts dislodged some of the fireproofing from the steel, increasing its exposure to the heat of the fires. Temperatures became high enough to weaken the core columns to the point of creep and plastic deformation under the weight of higher floors.

The heat of the fires also weakened the perimeter columns and floors, causing the floors to sag and exerting an inward force on exterior walls of the building. WTC Building 7 also collapsed later that day; the 47 story skyscraper collapsed within seconds due to a combination of a large fire inside the building and heavy structural damage from the collapse of the North Tower.

Champlain Towers:
Main article: Surfside condominium building collapse

On June 24, 2021, Champlain Towers South, a 12-story condominium building in Surfside, Florida partially collapsed, causing injuries and at least 24 deaths, and initially leaving 145 missing. The collapse was captured on video. 

One person was rescued from the rubble, and about 35 people were rescued on June 24 from the un-collapsed portion of the building. Long-term degradation of reinforced concrete support structures in the underground parking garage due to water penetration and corrosion of the reinforcing steel is being considered as a factor in—or the cause of—the collapse.

The issues had been reported in 2018 and noted as "much worse" in April 2021. A $15 million program of remedial works had been approved at the time of the collapse. As of July 11, 2021, 90 have been confirmed dead, while 31 remain unaccounted for.

Aircraft:
Main article: Loss of structural integrity on an aircraft
See also: Category:Airliner accidents and incidents caused by in-flight structural failure
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Repeat structural failures on the same type of aircraft occurred in 1954, when two de Havilland Comet C1 jet airliners crashed due to decompression caused by metal fatigue, and in 1963–64, when the vertical stabilizer on four Boeing B-52 bombers broke off in mid-air.

Other:
Warsaw Radio Mast:
Main article: Warsaw radio mast

On 8 August 1991 at 16:00 UTC Warsaw radio mast, the tallest man-made object ever built before the erection of Burj Khalifa collapsed as consequence of an error in exchanging the guy-wires on the highest stock. The mast first bent and then snapped at roughly half its height. It destroyed at its collapse a small mobile crane of Mostostal Zabrze. As all workers left the mast before the exchange procedures, there were no fatalities, in contrast to the similar collapse of WLBT Tower in 1997.

Hyatt Regency walkway:
Main article: Hyatt Regency walkway collapse
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On 17 July 1981, two suspended walkways through the lobby of the Hyatt Regency in Kansas City, Missouri, collapsed, killing 114 and injuring more than 200 people at a tea dance. The collapse was due to a late change in design, altering the method in which the rods supporting the walkways were connected to them, and inadvertently doubling the forces on the connection.

​The failure highlighted the need for good communication between design engineers and contractors, and rigorous checks on designs and especially on contractor-proposed design changes. The failure is a standard case study on engineering courses around the world, and is used to teach the importance of ethics in engineering.

See also:







Architectural TechnologyPictured below: The Roy and Diana Vagelos Education Center, Columbia University*
* -- Above Picture: The medical center at Columbia University has added to the school’s roster of notable architecture with a design by New York firm Diller Scofidio + Renfro. The Roy and Diana Vagelos Education Center’s 14-story cubic façade—built upward rather than out to accommodate Manhattan’s modest acreage allowance—is nearly all glass, showcasing a stellar view of the Hudson River and symbolizing a relationship and connection with the surrounding community. Inside, state-of-the-art classrooms and practice labs provide the most modern facilities for some of the most advanced medical students in the world. Diller Scofidio + Renfro also recently revealed the new McMurtry Building for the Department of Art and Art History at Stanford University.
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Architectural technology, or building technology, is the application of technology to the design of buildings. It is a component of architecture and building engineering and is sometimes viewed as a distinct discipline or sub-category.

New materials and technologies generated new design challenges and construction methods throughout the evolution of building, especially since the advent of industrialisation in the 19th century. Architectural technology is related to the different elements of a building and their interactions; it is closely aligned with advances in building science.

Architectural technology can be summarized as the "technical design and expertise used in the application and integration of construction technologies in the building design process." or as "The ability to analyze, synthesize and evaluate building design factors in order to produce efficient and effective technical design solutions which satisfy performance, production and procurement criteria."

​History:

Many specialists and professionals consider Vitruvius' theories as the foundations of architectural technology. Vitruvius' attempt to classify building types, styles, materials and construction methods influenced the creation of many disciplines such as civil engineering, structural engineering, architectural technology and other practices which, now and since the 19th century, form a conceptual framework for architectural design.

According to Stephen Emmitt, "The relationship between building technology and design can be traced back to the Enlightenment and the industrial revolution, a period when advances in technology and science were seen as the way forward, and times of solid faith in progress...

As technologies multiply in number and complexity the building profession started to fragment".

Until the twentieth century, the materials used for building were limited to brick, stone, timber and steel to form structures, slate and tiles for roof coverings, lead and sometimes copper for waterproofing details and decorative roofing effects.

The Romans used concrete, but it was virtually unknown as a building material until the invention of reinforced concrete in 1849. Modern construction is much more complex, with walls, floors and roofs all built up from many elements to include structure, insulation and waterproofing often as separate layers or elements.

Architectural technology in practice:

Architectural technology is a discipline that spans architecture, building science and engineering. It is informed by both practical constraints, and building regulations, as well as standards relating to safety, environmental performance, fire resistance, etc. It is practiced by architects, architectural technologists, structural engineers, architectural/building engineers and others who develop the design/concept into a buildable reality. Specialist manufacturers who develop products used to construct buildings, are also involved in the discipline.

In practice, architectural technology is developed, understood and integrated into a building by producing architectural drawings and schedules. Computer technology is now used on all but the simplest building types. During the twentieth century, the use of computer aided design (CAD) became mainstream, allowing for highly accurate drawings that can be shared electronically, so that for example the architectural plans can be used as the basis for designing electrical and air handling services. 

As the design develops, that information can be shared with the whole design team. That process is currently taken to a logical conclusion with the widespread use of Building Information Modeling (BIM), which uses a three dimensional model of the building, created with input from all the disciplines to build up an integrated design.

See also:






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Architectural Engineering Pictured below:  The Roles of an Architectural Engineer
Architectural engineering, also known as building engineering or architecture engineering, is an engineering discipline that deals with:
From reduction of greenhouse gas emissions to the construction of resilient buildings, architectural engineers are at the forefront of addressing several major challenges of the 21st century. They apply the latest scientific knowledge and technologies to the design of buildings.

Architectural engineering as a relatively new licensed profession emerged in the 20th century as a result of the rapid technological developments. Architectural engineers are at the forefront of two major historical opportunities that today's world is immersed in:
  1. that of rapidly advancing computer-technology,
  2. the parallel revolution arising from the need to create a sustainable planet.
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Distinguished from architecture as an art of design, architectural engineering, is the art and science of engineering and construction as practiced in respect of buildings.
​
Related engineering and design fields:

Structural Engineering:
Main article: Structural engineering

Structural engineering involves the analysis and design of the built environment (buildings, bridges, equipment supports, towers and walls). Those concentrating on buildings are sometimes informally referred to as "building engineers".

Structural engineers require expertise in strength of materials, structural analysis, and in predicting structural load such as from weight of the building, occupants and contents, and extreme events such as wind, rain, ice, and seismic design of structures which is referred to as earthquake engineering.

Architectural Engineers sometimes incorporate structural as one aspect of their designs; the structural discipline when practiced as a specialty works closely with architects and other engineering specialists.

Mechanical, electrical, and plumbing (MEP):

Mechanical engineering and electrical engineering engineers are specialists when engaged in the building design fields. This is known as mechanical, electrical, and plumbing (MEP) throughout the United States, or building services engineering in the United Kingdom, Canada, and Australia. 

Mechanical engineers often design and oversee the heating, ventilation and air conditioning (HVAC), plumbing, and rainwater systems. Plumbing designers often include design specifications for simple active fire protection systems, but for more complicated projects, fire protection engineers are often separately retained.

Electrical engineers are responsible for the building's power distribution, telecommunication, fire alarm, signalization, lightning protection and control systems, as well as lighting systems.

The architectural engineer (PE) in the United States:
Main article: Architectural engineer (PE)

In many jurisdictions of the United States, the architectural engineer is a licensed engineering professional. Usually a graduate of an EAC/ABET-accredited architectural engineering university program preparing students to perform whole-building design in competition with architect-engineer teams; or for practice in one of structural, mechanical or electrical fields of building design, but with an appreciation of integrated architectural requirements.

Although some states require a BS degree from an EAC/ABET-accredited engineering program, with no exceptions, about two thirds of the states accept BS degrees from ETAC/ABET-accredited architectural engineering technology programs to become licensed engineering professionals.

Architectural engineering technology graduates, with applied engineering skills, often gain further learning with an MS degree in engineering and/or NAAB-accredited Masters of Architecture to become licensed as both an engineer and architect.

This path requires the individual to pass state licensing exams in both disciplines. States handle this situation differently on experienced gained working under a licensed engineer and/or registered architect prior to taking the examinations. This education model is more in line with the educational system in the United Kingdom where an accredited MEng or MS degree in engineering for further learning is required by the Engineering Council to be registered as a Chartered Engineer.

The National Council of Architectural Registration Boards (NCARB) facilitate the licensure and credentialing of architects but requirements for registration often vary between states.

In the state of New Jersey, a registered architect is allowed to sit for the PE exam and a professional engineer is allowed to take the design portions of the Architectural Registration Exam (ARE), to become a registered architect. It is becoming more common for highly educated architectural engineers in the United States to become licensed as both engineer and architect.

Formal architectural engineering education, following the engineering model of earlier disciplines, developed in the late 19th century, and became widespread in the United States by the mid-20th century. With the establishment of a specific "architectural engineering" NCEES Professional Engineering registration examination in the 1990s, and first offering in April 2003, architectural engineering became recognized as a distinct engineering discipline in the United States. Up to date NCEES account allows engineers to apply to other states PE license "by comity".

In most license-regulated jurisdictions, architectural engineers are not entitled to practice architecture unless they are also licensed as architects. Practice of structural engineering in high-risk locations, e.g., due to strong earthquakes, or on specific types of higher importance buildings such as hospitals, may require separate licensing as well. Regulations and customary practice vary widely by state or city.

The architect as architectural engineer:
See also: Architect § Professional requirements

In some countries, the practice of architecture includes planning, designing and overseeing the building's construction, and architecture, as a profession providing architectural services, is referred to as "architectural engineering".

In Japan, a "first-class architect" plays the dual role of architect and building engineer, although the services of a licensed "structural design first-class architect"(構造設計一級建築士) are required for buildings over a certain scale.

In some languages, such as Korean and Arabic, "architect" is literally translated as "architectural engineer". In some countries, an "architectural engineer" (such as the ingegnere edile in Italy) is entitled to practice architecture and is often referred to as an architect.

These individuals are often also structural engineers. In other countries, such as Germany, Austria, Iran, and most of the Arab countries, architecture graduates receive an engineering degree (Dipl.-Ing. – Diplom-Ingenieur).

In Spain, an "architect" has a technical university education and legal powers to carry out building structure and facility projects.

In Brazil, architects and engineers used to share the same accreditation process (Conselho Federal de Engenheiros, Arquitetos e Agrônomos (CONFEA) – Federal Council of Engineering, Architecture and Agronomy). Now the Brazilian architects and urbanists have their own accreditation process (CAU – Architecture and Urbanism Council). Besides traditional architecture design training, Brazilian architecture courses also offer complementary training in engineering disciplines such as structural, electrical, hydraulic and mechanical engineering.

After graduation, architects focus in architectural planning, yet they can be responsible to the whole building, when it concerns to small buildings (except in electric wiring, where the architect autonomy is limited to systems up to 30kVA, and it has to be done by an Electrical Engineer), applied to buildings, urban environment, built cultural heritage, landscape planning, interior-scape planning and regional planning.

In Greece licensed architectural engineers are graduates from architecture faculties that belong to the Polytechnic University, obtaining an "Engineering Diploma". They graduate after 5 years of studies and are fully entitled architects once they become members of the Technical Chamber of Greece (TEE – Τεχνικό Επιμελητήριο Ελλάδος). 

The Technical Chamber of Greece has more than 100,000 members encompassing all the engineering disciplines as well as architecture. A prerequisite for being a member is to be licensed as a qualified engineer or architect and to be a graduate of an engineering and architecture schools of a Greek university, or of an equivalent school from abroad.

The Technical Chamber of Greece is the authorized body to provide work licenses to engineers of all disciplines as well as architects, graduated in Greece or abroad. The license is awarded after examinations. The examinations take place three to four times a year. The Engineering Diploma equals a master's degree in ECTS units (300) according to the Bologna Accords.

Education:
Further information: Engineer's degree

The architectural, structural, mechanical and electrical engineering branches each have well established educational requirements that are usually fulfilled by completion of a university program.
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Architectural engineering as a single integrated field of study:
Main article: Building engineering education

Its multi-disciplinary engineering approach is what differentiates architectural engineering from architecture (the field of the architect): which is an integrated, separate and single, field of study when compared to other engineering disciplines.

Through training in and appreciation of architecture, the field seeks integration of building systems within its overall building design. Architectural engineering includes the design of building systems including: 
​In some university programs, students are required to concentrate on one of the systems; in others, they can receive a generalist architectural or building engineering degree.

See also:





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Environmental Technology and its Impact on ArchitecturePictured below: Spherical Urban Greenhouses. This urban greenhouse will serve as a sanctuary for Amazon employees in Seattle, Washington.
Environmental technology (envirotech), green technology (greentech) or clean technology (cleantech) is the application of one or more of environmental science, green chemistry, environmental monitoring and electronic devices to monitor, model and conserve the natural environment and resources, and to curb the negative impacts of human involvement.

The term is also used to describe sustainable energy generation technologies such as photovoltaics, wind turbines, etc. Sustainable development is the core of environmental technologies. The term environmental technologies is also used to describe a class of electronic devices that can promote sustainable management of resources.

Purification and waste management:
Main article: Recycling

Examples:
Water purification:

​Water purification: The whole idea/concept of having dirt/germ/pollution free water flowing throughout the environment. Many other phenomena lead from this concept of purification of water. Water pollution is the main enemy of this concept, and various campaigns and activists have been organized around the world to help purify water.

Air purification:

Air purification: Basic and common green plants can be grown indoors to keep the air fresh because all plants remove CO2 and convert it into oxygen. The best examples are: Dypsis lutescens, Sansevieria trifasciata, and Epipremnum aureum. Besides using the plants themselves, some species of bacteria can also be added to the leaves of these plants to help remove toxic gases, such as toluene.

Sewage treatment:

Sewage treatment is conceptually similar to water purification. Sewage treatments are very important as they purify water per levels of pollution. The most polluted water is not used for anything, and the least polluted water is supplied to places where water is used affluently. It may lead to various other concepts of environmental protection, sustainability, etc.

Environmental remediation:

Environmental remediation is the removal of pollutants or contaminants for the general protection of the environment. This is accomplished by various chemical, biological, and bulk methods.

Solid waste management:

Solid waste management is the purification, consumption, reuse, disposal and treatment of solid waste that is undertaken by the government or the ruling bodies of a city/town.

Sustainable energy:
​Main article: Sustainable energy

Concerns over pollution and greenhouse gases have spurred the search for sustainable alternatives to our current fuel use. The global reduction of greenhouse gases requires the adoption of energy conservation as well as sustainable generation. That environmental harm reduction involves global changes such as:
  • reducing air pollution and methane from biomass
  • virtually eliminating fossil fuels for vehicles, heat, and electricity, left in the ground.
  • widespread use of public transport, battery and fuel cell vehicles
  • more wind/solar/water generated electricity
  • reducing peak demands with carbon taxes and time of use pricing.

Since fuel used by industry and transportation account for the majority of world demand, by investing in conservation and efficiency (using less fuel), pollution and greenhouse gases from these two sectors can be reduced around the globe.

Advanced energy efficient electric motor (and electric generator) technology that are cost effective to encourage their application, such as variable speed generators and efficient energy use, can reduce the amount of carbon dioxide (CO2) and sulfur dioxide (SO2) that would otherwise be introduced to the atmosphere, if electricity were generated using fossil fuels. 

Greasestock is an event held yearly in Yorktown Heights, New York which is one of the largest showcases of environmental technology in the United States. Some scholars have expressed concern that the implementation of new environmental technologies in highly-developed national economies may cause economic and social disruption in less-developed economies.

Examples of Green Technology:
Renewable energy:
Main article: Renewable energy

Renewable energy is the energy that can be replenished easily. For years we have been using sources such as wood, sun, water, etc. for means for producing energy. Energy that can be produced by natural objects like the sun, wind, etc. is considered to be renewable.

Technologies that have been in usage include wind power, hydropower, solar energy, geothermal energy, and biomass/bioenergy.

Energy conservation:

Energy conservation is the utilization of devices that require smaller amounts of energy in order to reduce the consumption of electricity. Reducing the use of electricity causes less fossil fuels to be burned to provide that electricity.

eGain forecasting:

eGain forecasting is a method using forecasting technology to predict the future weather's impact on a building. By adjusting the heat based on the weather forecast, the system eliminates redundant use of heat, thus reducing the energy consumption and the emission of greenhouse gases.

Education:

Courses aimed at developing graduates with some specific skills in environmental systems or environmental technology are becoming more common and fall into three broads classes:
  • Environmental Engineering or Environmental Systems courses oriented towards a civil engineering approach in which structures and the landscape are constructed to blend with or protect the environment;
  • Environmental chemistry, sustainable chemistry or environmental chemical engineering courses oriented towards understanding the effects (good and bad) of chemicals in the environment. Such awards can focus on mining processes, pollutants and commonly also cover biochemical processes;
  • Environmental technology courses oriented towards producing electronic, electrical or electrotechnology graduates capable of developing devices and artefacts able to monitor, measure, model and control environmental impact, including monitoring and managing energy generation from renewable sources, and developing novel energy generation technologies.

See also:
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Outline of Architecture Pictured below: Building and architecture outline icons in set collection for design.The building and dwelling vector isometric symbol stock web illustration. stock illustration
Paris - France, England, Belgium, Russia, Scandinavia
The following outline is an overview and topical guide to architecture:

Architecture – the process and the product of designing and constructing buildings. Architectural works with a certain indefinable combination of design quality and external circumstances may become cultural symbols and / or be considered works of art.

Click on any of the following blue hyperlinks for more about this Outline of  Architecture:
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​What type of thing is architecture?:

Architecture can be described as all of the following:
  • Academic discipline – focused study in one academic field or profession. A discipline incorporates expertise, people, projects, communities, challenges, studies, inquiry, and research areas that are strongly associated with the given discipline.
  • Buildings – buildings and similar structures, the product of architecture, are referred to as architecture.
  • One of the arts – as an art form, architecture is an outlet of human expression, that is usually influenced by culture and which in turn helps to change culture. Architecture is a physical manifestation of the internal human creative impulse.
    • Fine art – in Western European academic traditions, fine art is art developed primarily for aesthetics, distinguishing it from applied art that also has to serve some practical function. The word "fine" here does not so much denote the quality of the artwork in question, but the purity of the discipline according to traditional Western European canons.
  • Science – systematic enterprise that builds and organizes knowledge in the form of testable explanations and predictions about the universe. A science is a branch of science, or a discipline of science. It's a way of pursuing knowledge, not only the knowledge itself.
    • Applied science – branch of science that applies existing scientific knowledge to develop more practical applications, such as technology or inventions.

Definitions of architecture:

Architecture is variously defined in conflicting ways, highlighting the difficulty of describing the scope of the subject precisely:
  • A general term to describe buildings and other physical structures.
  • The art and science, or the action and process, of designing and constructing buildings.
  • The design activity of the architect, the profession of designing buildings.
  • A building designed by an architect, the end product of architectural design.
  • A building whose design transcends mere function, a unifying or coherent form or structure.
  • The expression of thought in building.
  • A group or body of buildings in a particular style.
  • A particular style or way of designing buildings.

Some key quotations on the subject of architecture:
​Roles in architecture:

Professionals involved in planning, designing, and constructing buildings include: People engaged in architecture:
Architectural styles:
Main article: List of architectural styles

Architectural style – a specific way of building, characterized by the features that make it notable. A style may include such elements as form, method of construction, materials, and regional character. Influential contemporary and relatively recent styles include :
Specialist sub-classifications of architecture:

Terms used to describe different architectural concerns, origins and objectives.:
  • Architecture parlante ("speaking architecture") – buildings or architectural elements that explain their own function or identity by means of an inscription or literal representation.
  • Religious architecture – the design and construction of places of worship.
  • Responsive architecture – designing buildings that measure their environmental conditions (via sensors) to adapt their form, shape, color or character responsively (via actuators).
  • Sustainable architecture – environmentally conscious design techniques in the field of architecture.
  • Vernacular architecture – traditional local building styles, typically not designed by professional architects although vernacular elements are adopted by many architects.

Architectural theory:
Main article: Architectural theory
  • Architectural design values – the various values that influence architects and designers in making design decisions.
  • Mathematics and architecture – have always been close, because architecture relies upon mathematical precision, and because both fields share a search for order and beauty.
  • Pattern language – a term coined by architect Christopher Alexander, a structured method of describing good design practices within a field of expertise.
  • Proportion – the relationship between elements and the whole.
  • Space syntax – a set of theories and techniques for the analysis of spatial configurations.
  • Architecture criticism – published or broadcast critique, assessing the architect's success in meeting his own aims and objectives and those of others.

Architectural terms:   ​







Architecture Schools in the United States Pictured below: Cal Poly Architectural Courses: creating shelters for the homeless: "​It Takes a Village: See life through the eyes of budding architects as they dream up — and build — creative shelters that find a home in Design Village". By Robyn Kontra Tanner // Photos by Joe Johnston
The Vision (California State Polytechnic University School of Architecture) -- See above Photo and first Video:

In early April, students and their instructors made the trek up to Poly Canyon to pick out their plots and envision their Design Village structures. Newly formed teams measured the slope of the land, assessed the plethora of gopher holes and noted the direction of the sun and the wind.

Though instructors urged students not to dwell on the overall form first, some couldn’t help imagining a bold concept. Students took inspiration from flowers, reptiles, sundials and even a cornucopia.

Click here for the rest of the above article.

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Wikipedia:

​Architecture education and schools in the United States refers to university schools and colleges with the purpose of educating students in the field of architecture.

​Professional degrees

There are three types of professional degrees in architecture in the United States:
Non-professional degrees include (require a Master of Architecture for licensure):
  • Bachelor of Arts in Architecture (BA)
  • Bachelor of Science in Architecture (BS)
  • Bachelor of Fine Arts in Architecture (BFA Arch)
  • Bachelor of Environmental Design (B.Envd or B.E.D.)

A non-professional degree typically takes four years to complete and may be part of the later completion of professional degree (A "4+2" plan comprises a 4-year BA or BS in Architecture followed by a 2-year Master of Architecture).

The 5-year BArch and 6-year MArch are regarded as virtual equals in the registration and accreditation processes.

A professional Bachelor of Architecture degree takes five years to complete. (There is a 3-year B.Arch program offered by Florida Atlantic University articulated with an AA degree in architecture.) There are also M.Arch programs for those with undergraduate degrees in areas outside architecture; these program typically take six or seven semester (3 or 3+1⁄2 years) to complete.

Other programs (such as those offered at University of Cincinnati, Drexel University, Boston Architectural College and NewSchool of Architecture and Design) combine the required educational courses with the work component necessary to sit for the professional licensing exams.

Programs such as this often afford students the ability to immediately test for licensure upon graduation, as opposed to having to put in several years working in the field after graduation before being able to get licensed, as is common in more traditional programs.

Some architecture schools, such as Florida International University, offer the Master of Architecture degree in an accelerated five-year or six-year format without the need of a bachelor's degree. There is currently an ongoing debate to upgrade the 3.5 year M.Arch title to D.Arch both for current students and retroactively for 3.5 year M.Arch graduates.

Rankings:

Each year, the journal DesignIntelligence ranks both undergraduate and graduate architecture programs that are accredited by the National Architectural Accrediting Board. These rankings, collectively called "America's Best Architecture & Design Schools" are obtained by surveying hundreds of practicing architecture leaders with direct and recent experience hiring and supervising architects.

They are asked what programs they consider to be best preparing students for professional success overall. They are also asked to cite the programs they consider to be the best in educating and training for specific skills. These skills rankings are also published in "America's Best Architecture & Design Schools."

Founded in 1912 to advance the quality of architectural education, the Association of Collegiate Schools of Architecture (ACSA) represents all accredited programs and their faculty across the United States and Canada, as well as nonaccredited and international affiliate members around the world.

The ACSA collects detailed information from these schools for its "Guide to Architecture Schools," which exists both as a book and as a free online searchable database at archschools.org. These publications are the only complete directories of all accredited professional architecture programs in North America and are used as a reference for prospective students, graduate students, educators, administrators, counselors, and practitioners.

The ACSA Guide to Architecture Schools features detailed program descriptions, an index of specialized and related degree programs, an overview of the profession of architecture and the education process, advice on how to select the right school, and scholarship and financial aid information.

In addition, "America's Best Architecture & Design Schools" each year presents Architect Registration Examination pass rates by school, a historical review of top architecture schools, how current architecture students rank their schools, and a directory of accredited programs.

These particular alphabetical lists do not compute with a DI.net average of the past decade, leaving out a series of other brilliant institutions and including others that have just recently made the lists. The following schools have consistently been ranked within the top 17 of all undergraduate architecture schools in the nation.

In alphabetical order, the top 17 schools are: 
The following schools are top 10 graduate schools, in order, according to "America's Best Architecture & Design Schools 2014":
  1. Harvard University,
  2. Yale University,
  3. Columbia University,
  4. Massachusetts Institute of Technology,
  5. Cornell University tied with Rice University,
  6. University of Michigan, Kansas State University,
  7. University of California, Berkeley,
  8. University of Texas at Austin.

List of architecture schools in the United States

Click here for a List of Architectural Schools in the United States.

​See also:







American Institute of Architects (AIA), including a List of Prominent ArchitectsPictured below: Just steps from the White House, AIA’s prime downtown location is the perfect place to host your next event. Book one of our spaces hourly, for the full day, or an evening reception. Our space is yours for as long as you need it.
Click here for a List of Prominent Architects.

The American Institute of Architects (AIA) is a professional organization for architects in the United States.

Headquartered in Washington, D.C., the AIA offers education, government advocacy, community redevelopment, and public outreach to support the architecture profession and improve its public image. The AIA also works with other members of the design and construction community to help coordinate the building industry.

The AIA is currently headed by Lakisha Ann Woods, CAE, as EVP/Chief Executive Officer and Dan Hart, FAIA, as 2022 AIA President

​Organization:

Membership:

More than 95,000 licensed architects and associated professionals are members. AIA members adhere to a code of ethics and professional conduct intended to assure clients, the public, and colleagues of an architect's dedication to the highest standards in professional practice.

There are five levels of membership in the AIA:
  • Architect members (AIA) are licensed to practice architecture by a licensing authority in the United States.
  • Associate members (Assoc. AIA) are not licensed to practice architecture, but they are working under the supervision of an architect in a professional or technical capacity, have earned professional degrees in architecture, are faculty members in a university program in architecture, or are interns earning credit toward licensure.
  • International associate members hold an architecture license or the equivalent from a licensing authority outside the United States.
  • Emeritus members have been AIA members for 15 successive years and are at least 70 years of age or are incapacitated and unable to work in the architecture profession.
  • Allied members are individuals whose professions are related to the building and design community, such as engineers, landscape architects, or planners; or senior executive staff from building and design-related companies, including publishers, product manufacturers, and research firms. Allied membership is a partnership with the AIA and the American Architectural Foundation.

There is no National AIA membership category for students, but they can become members of the American Institute of Architecture Students and many local and state chapters of the AIA have student membership categories.

The AIA's most prestigious honor is the designation (FAIA) of a member as a Fellow of the American Institute of Architects. This membership is awarded to members who have made contributions of national significance to the profession. Slightly more than 2,600, or 2% of all members, have been elevated to the AIA College of Fellows. Foreign architects of prominence may be elected to the college as Honorary Fellows of the AIA.

Structure:

The AIA is governed by a board of directors and has a staff of more than 200 employees. Although the AIA functions as a national organization, its 217 local and state chapters provide members with programming and direct services to support them throughout their professional lives.

The chapters cover the entirety of the United States and its territories. Components also operate in the United Kingdom, Continental Europe, the Middle East, Japan, Hong Kong, Shanghai and Canada.

Service:

By speaking with a united voice, AIA architects influence government practices that affect the practice of the profession and the quality of American life. The AIA monitors legislative and regulatory actions and uses the collective power of its membership to participate in decision making by federal, state, and local policy makers.

To serve the public, the AIA's community-based programs work with federal legislators and local governments to elevate the design of public spaces, protect the nation's infrastructure, and develop well-designed affordable housing for all Americans.

The American Institute of Architects announced in June 2013 at CGI America (an annual event of the Clinton Global Initiative) the creation of "Designing Recovery," a design contest in partnership with the charities Make It Right, SBP, and Architecture for Humanity. 

Sponsored by Dow Building Solutions, a total of $30,000 in prize money was divided equally among three winning designs in New Orleans, Louisiana, Joplin, Missouri, and New York City. Entrants submitted single-family housing designs with the objective of "improving the quality, diversity and resiliency of the housing in each community." Organizers made the portfolio of designs (even from non-winners) available to communities recovering from natural disasters.

Professionalism:

The AIA serves its members with professional development opportunities, contract documents that are the model for the design and construction industry, professional and design information services, personal benefits, and client-oriented resources.

In contributing to their profession and communities, AIA members also participate in professional interest areas from design to regional and urban development and professional academies that are both the source and focus of new ideas and responses. To aid younger professionals, an Intern Development Program, Architect Registration Exam preparation courses, and employment referral services are frequently offered by local components.

The AIA holds an annual conference in late spring / early summer that draws the largest gathering of architects in the world.

Public education:

The AIA attempts to meet the needs and interests of the nation's architects and the public by raising public awareness of the value of architecture and the importance of good design. To mark the AIA's 150th anniversary and to showcase how AIA members have helped shape the built environment, the AIA and Harris Interactive released findings from a public poll that asked Americans to name their favorite 150 works of architecture.

Two of the AIA's public outreach efforts, the Blueprint for America nationwide community service initiative marking its 150th anniversary and the Sustainability 2030 Toolkit, a resource created to encourage mayors and community leaders to advocate environmentally friendly building design both earned an Award of Excellence in the 2007 Associations Advance America Awards, a national competition sponsored by the American Society of Association Executives and the Center for Association Leadership.

Honors and awards:

The AIA has long recognized individuals and organizations for their outstanding achievements in support of the architecture profession and the AIA.

Honors Program:
Institute Honors:

For new and restoration projects anywhere in the world:
This award, recognizing architectural design of enduring significance, is conferred on a project that has stood the test of time for 25 to 35 years. The project must have been designed by an architect licensed in the United States at the time of the project's completion.

For Professional Achievement:
  • Associates Award
  • Collaborative Achievement Award
  • Edward C. Kemper Award
  • Thomas Jefferson Awards for Public Architecture
  • Whitney M. Young Jr. Award
  • Young Architects Award
  • College of Fellows honor – Benjamin Latrobe Prize for Architectural Research
  • AIA Committee on the Environment AIA/COTE Top Ten Green Projects

Cosponsored programs:
  • AIA/ALA Library Building Awards
  • AIA Housing Awards
  • AIA/HUD Secretary's Housing and Community Design Awards

Membership Honors:
  • Honorary Membership (Hon. AIA)
  • Fellow of the American Institute of Architects (FAIA)
  • Honorary Fellowship (Hon. FAIA)

Magazine:

Architect: The Journal of the American Institute of Architects is the official magazine of the AIA, published independently by Washington, D.C.-based business-to-business media company Hanley Wood, LLC. Architect hands out the annual Progressive Architecture Award, in addition to the R+D Awards (for research and development). Architect formerly conducted an Annual Design Review, which it described as "a unique barometer of the business of architecture."

Previously, the official publication of the American Institute of Architects was Architecture, which was preceded in turn by the Journal of the American Institute of Architects. Both of these publications are currently defunct. The successor, Architect Magazine, is not owned by but is affiliated with AIA, and uses their name on their masthead.

Click on any of the following blue hyperlinks for more about the American Institute of Architects:







America's Favorite Architecture Pictured below (L-R):
TOP ROW: Empire State Building;  Washington National Cathedral; St. Louis Gateway Arch
BOTTOM ROW: Golden Gate Bridge; Statue of Liberty
"America's Favorite Architecture" is a list of buildings and other structures identified as the most popular works of architecture in the United States.

In 2006 and 2007, the American Institute of Architects (AIA) sponsored research to identify the most popular works of architecture in the United States. Harris Interactive conducted the study by first polling a sample of the AIA membership and later polling a sample of the public.

In the first phase of the study, 2,448 AIA members were interviewed and asked to identify their "favorite" structures. Each was asked to name up to 20 structures in each of 15 defined categories. The 248 structures that were named by at least six of the AIA members were then included in a list of structures to be included in the next phase, a survey of the general public.

The survey of the public involved a total of 2,214 people, each of whom rated many photographs of buildings and other structures drawn from the list of 248 structures that had been created by polling the architects. The public's preferences were ranked using a "likeability" scale developed for the study.

As part of the commemoration of the organization's 150th anniversary in 2007, the AIA announced the list of the 150 highest-ranked structures as "America's Favorite Architecture". 

New York City is the location of 32 structures on the list, more than any other place. Of the 10 top-ranked structures, 6 are in Washington, DC, which is the location of 17 of the 150 structures on the complete list. Chicago has 16 structures on the list.

Click here for the list of the 150 top-ranked structures.
  1. ​Empire State Building, New York, NY
  2. The White House, Washington, DC
  3. Washington National Cathedral, Washington, DC
  4. Jefferson Memorial, Washington, DC
  5. Golden Gate Bridge, San Francisco, CA
  6. United States Capitol, Washington, DC
  7. Lincoln Memorial, Washington, DC
  8. Biltmore Estate, Asheville NC
  9. Chrysler Building, New York, NY
  10. Vietnam Veterans Memorial, Washington, DC
  11. St. Patrick's Cathedral, New York, NY
  12. Washington Monument, Washington, DC
  13. Grand Central Terminal, New York, NY
  14. Gateway Arch, St. Louis, MO
  15. Supreme Court of the United States, Washington, DC
  16. St. Regis, New York, NY
  17. Metropolitan Museum of Art, New York, NY
  18. Hotel Del Coronado, Coronado, CA
  19. World Trade Center (original towers), New York, NY
  20. Brooklyn Bridge, New York, NY
  21. Philadelphia City Hall, Philadelphia, PA
  22. Bellagio Hotel and Casino, Las Vega, NV
  23. Cathedral of St. John the Divine, New York, NY
  24. Philadelphia Museum of Art, New York, NY
  25. Trinity Church, Boston, MA
  26. Ahwahnee Hotel, Yosemite Valley, CA
  27. Monticello, Charlottesville, VA
  28. Library of Congress, Washington, DC
  29. Fallingwater, Mill Run, PA
  30. Taliesin, Spring Green WI
  31. Wrigley Field, Chicago, IL
  32. Wanamaker's Department Store, Philadelphia, PA
  33. Rose Center for Earth and Space, New York, NY
  34. National Gallery of Art (West Building), Washington, DC
  35. Allegheny County Courthouse, Pittsburgh, PA
  36. Old Faithful Inn, Yellowstone National Park, WY
  37. Washington Union Station Washington, DC
  38. Tribune Tower, Chicago, IL
  39. Delano Hotel, Miami Beach, FL
  40. Union Station, St. Louis, MO
  41. Hearst Residence, San Simeon, CA
  42. Willis (formerly Sears) Tower, Chicago, IL
  43. Thomas Crane Public Library, Quincy, MA
  44. Woolworth Building, New York, NY
  45. Cincinnati Union Terminal, Cincinnati, OH
  46. Waldorf Astoria, New York, NY
  47. New York Public Library, New York, NY
  48. Carnegie Hall, New York, NY
  49. San Francisco City Hall, San Francisco, CA
  50. Virginia State Capitol, Richmond, VA
  51. Cadet Chapel, Air Force Academy, Colorado Springs, CO
  52. Field Museum of Natural History, Chicago, IL
  53. Apple, 5th Avenue, New York, NY
  54. Fisher Fine Arts Library, Philadelphia, PA
  55. Mauna Kea Beach Hotel, Kohala Coast, HI
  56. Rockefeller Center, New York, NY
  57. Denver International Airport, Denver, CO
  58. Ames Free Library, North Easton, MA
  59. Milwaukee Art Museum, Milwaukee, WI
  60. Thorncrown Chapel, Eureka Springs, AR
  61. Transamerica Pyramid, San Francisco, CA
  62. 333 Wacker Drive, Chicago, IL
  63. Smithsonian National Air & Space Museum, Washington, DC
  64. Faneuil Hall, Boston, MA
  65. Crystal Cathedral, Garden Grove, CA
  66. Gamble House, Pasadena, CA
  67. Nebraska State Capitol, Lincoln, NE
  68. New York Times Building, New York, NY
  69. Salt Lake City Public Library, Salt Lake City, UT
  70. Walt Disney World Dolphin and Swan Hotels, Lake Buena Vista, FL
  71. Hearst Tower, New York, NY
  72. Flatiron Building, New York, NY
  73. Lake Point Tower, Chicago, NY
  74. Guggenheim Museum, New York, NY
  75. Union Station, Los Angeles, CA
  76. Willard Hotel, Washington, DC
  77. Sever Hall, Harvard University, Cambridge, MA
  78. Broadmoor Hotel, Colorado Springs, CO
  79. Ronald Reagan Building, Washington, DC
  80. Phillips Exeter Academy Library, Exeter, NH
  81. The Plaza Hotel, New York, NY
  82. Sofitel Chicago Water Tower, Chicago, IL
  83. Glessner House, Chicago, IL
  84. Yankee Stadium (1923) (demolished), New York, NY
  85. Harold Washington Library, Chicago, IL
  86. Lincoln Center, New York, NY
  87. The Dakota Apartments, New York, NY
  88. Art Institute of Chicago, Chicago, IL
  89. Fairmont Hotel, San Francisco, CA
  90. Boston Public Library, Boston, MA
  91. Hollywood Bowl, Los Angeles, CA
  92. Texas State Capitol, Austin, TX
  93. Fontainebleau, Miami, FL
  94. Legal Research Building, University of Michigan, Ann Arbor, MI
  95. Getty Center, Los Angeles, CA
  96. High Museum, Atlanta, GA
  97. Federal Building and United States Courthouse, Islip, NY
  98. Humana Building, Louisville, KY
  99. Disney Concert Hall, Los Angeles, CA
  100. Radio City Music Hall, New York, NY
  101. Paul Brown Stadium, Cincinnati, OH
  102. United Airlines Terminal 1, O'Hare Airport, Chicago, IL
  103. Hyatt Regency Atlanta, Atlanta, GA
  104. Oracle Park, San Francisco, CA
  105. Time Warner Center, New York, NY
  106. Washington Metro, Washington, DC
  107. IDS Center (IDS Tower), Minneapolis, MN
  108. Seattle Central Library, Seattle, WA
  109. San Francisco Museum of Modern Art, San Francisco, CA
  110. Union Station, Chicago, IL
  111. United Nations Headquarters, New York, NY
  112. National Building Museum, Washington, DC
  113. Fenway Park, Boston, MA
  114. Dana–Thomas House, Springfield, IL
  115. TWA Flight Center, JFK Airport, New York, NY
  116. The Athenaeum, New Harmony, IN
  117. Walker Art Center, Minneapolis, MN
  118. American Airlines Center, Dallas, TX
  119. Arizona Biltmore Resort and Spa, Phoenix, AZ
  120. Los Angeles Central Library, Los Angeles, CA
  121. San Francisco International Airport, San Francisco, CA
  122. Camden Yards, Baltimore, MD
  123. Taliesin West, Scottsdale, AZ
  124. United States Holocaust Museum, Washington, DC
  125. Citicorp Center, New York, NY
  126. V. C. Morris Gift Shop, San Francisco, CA
  127. Union Station, Kansas, MO
  128. Rookery Building, Chicago, IL
  129. Frederick R. Weisman Museum of Art, Minneapolis, MN
  130. Douglas House, Harbor Springs, MI
  131. Aline Barnsdall Hollyhock House, Los Angeles, CA
  132. Pennzoil Place, Houston, TX
  133. Royalton Hotel, New York, NY
  134. Astrodome, Houston, TX
  135. T-Mobile Park, Seattle, WA
  136. Corning Museum of Glass, Corning, NY
  137. 30th Street Station, Philadelphia, PA
  138. Robie House, Chicago, IL
  139. Williams (formerly Transco) Tower, Houston, TX
  140. Stahl House (Case Study House #22), Los Angeles, CA
  141. ​Apple, SoHo, New York, NY
  142. John Hancock Tower, Boston, MA
  143. Pennsylvania Station (demolished), New York, NY
  144. Hyatt Regency, San Francisco, CA
  145. Carson, Pirie, Scott and Company Building, Chicago, IL
  146. Museum of Modern Art, New York, NY
  147. Auditorium Building, Chicago, IL
  148. Brown Palace Hotel, Denver, CO
  149. Ingalls Rink, Yale University, New Haven, CT
  150. Battle Hall, UT Austin, Austin, TX

Criticisms:

When it was released, critics observed that the list of "favorites" did not reflect the judgments of architectural “experts”. Upon the list's release, AIA president R.K. Stewart acknowledged that the rankings did not represent architects' professional judgments, but instead reflected people's "emotional connections" to buildings. 

Buildings named by critics as being some that architects consider to be highly significant, but that did not achieve top 150 ranking in the public survey, included the Salk Institute in La Jolla, California, designed by Louis Kahn; the Inland Steel and John Hancock buildings in Chicago; Washington Dulles International Airport in Chantilly, Virginia, designed by Eero Saarinen; and the Seagram Building in New York City, designed by Ludwig Mies van der Rohe. 

John King of the San Francisco Chronicle pointed out that in 1991 the AIA had named Eero Saarinen's design for Dulles Airport as one of ten "all-time works of American architects." King noted that the public's ratings were based on seeing just one photo of each building, and pointed out that "There's more to architecture than a picture can convey."

Structures ranked below the top 150:

The 98 buildings that were listed by architects as significant, but did not rank in the top 150 in the public vote, were:
See also:







Honeymoon Resort at Madonna Inn, San Luis Obispo, CA (Click Here for Website) Pictured below:
​Top -- Front Entrance to Madonna Inn (Courtesy of Rian Castillo from Vestavia Hills, USA - madonna inn, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=33536611
Bottom: Honeymoon Suite (room that Ev & I stayed at for our honeymoon)
[Your Webhost: I first became aware of Madonna Inn while attending college at California State Polytechnic University in San Luis Obispo (1961-1965). In fact, I dated a lady who waitressed at the Inn's main restaurant. Later when Ev and I were on our honeymoon, in September, 1973, we spent it at the Inn's "honeymoon suite" (bottom picture above)! The Inn's architecture is incredible!]

The Madonna Inn is a motel in San Luis Obispo, California. Opened for business in 1958, it quickly became a landmark on the Central Coast of California. It is noted for its unique decor, pink dining room, and themed rooms. It was created by Alex Madonna, a successful construction magnate and entrepreneur (d. April 2004), and his wife Phyllis. 

The inn includes a restaurant and bakery and is located on the west side of US Route 101 and situated on the lower eastern portion of Cerro San Luis Obispo.

Description:

The property is adorned with a pseudo-Swiss-Alps exterior and lavish common rooms accented by pink roses, Western murals, and hammered copper. The predominant exterior color is pink, which extends to the lamp posts and trash cans. 

Each of the 110 guest rooms and suites is uniquely designed and themed, though some tourists stop just to peek at the famous rock waterfall urinal located in the men's restroom, a feature designed by Hollywood set designer Harvey Allen Warren.

The boulders used for the Inn weigh up to 209 short tons (190 t) for the exterior and 15 short tons (14 t) for the interior. A 45 short tons (41 t) boulder is shared as a fireplace for the adjoining Madonna (#141) and Old World (#192) suites.

In 1973, there were five buildings on the 1,500-acre (610 ha) site:
Aiming to cater to a range of tastes, rooms were given unusual names, amenities, and themes such as:
  • "Yahoo" (#132),
  • "Love Nest" (#183),
  • "Old Mill" (#206),
  • "Kona Rock" (#131),
  • "Irish Hills" (#156),
  • "Cloud Nine" (#161),
  • "Just Heaven" (#184),
  • "Hearts & Flowers" (#155),
  • "Rock Bottom" (#143),
  • "Austrian Suite" (#160),
  • "Cabin Still" (#133),
  • "Old World Suite" (#192),
  • "Caveman Room" (#137),
  • "Elegance" (#201),
  • "Daisy Mae" (#138),
  • "Safari Room" (#193),
  • "Highway Suite" (#145),
  • "Jungle Rock" (#139),
  • "American Home" (#204),
  • "Bridal Falls" (#140),
  • and "the Carin" (#218).

Some rooms are grouped in themes. For example, the rooms "Ren" (#167), "Dez" (#168), and "Vous" (#169) are a play on the French word rendezvous, and "Merry" (#164), "Go" (#165), and "Round" (#166), for an amusement park carousel.

Most of the themes were conceived by Alex and Phyllis Madonna, and some rooms were designed by Disney artist Alice Turney Williams.

​History:

The Madonna Inn opened as a motel inn on December 24, 1958 upon the completion of its first twelve rooms. The Madonnas were so excited to have their first guest, they refunded his $7 room rental. 

Demand was sufficient to expand to forty rooms in 1959, and the Inn facility was constructed in 1960. Reportedly, when the architect Richard Neutra stayed at the Inn, he asked Alex Madonna about the design: "Alex, you didn't have an architect here, did you? It's just as well you didn't because you couldn't have captured all the details if you had to draw them out. I don't know how you would draw these things and then accomplish them."

In May 1966, the Inn's original units were burned to the ground in a fire. It reopened a year later, and by the end of the decade, all of the rooms had been rebuilt in manner for which they are known today. There are 110 rooms.

In 1975, critic Paul Goldberger wrote an article about the Madonna Inn for The New York Times, bringing it to national prominence. By 1982, the Madonna Inn was already well-known, and Alex Madonna was quoted as saying, "Anybody can build one room and a thousand like it. It's more economical. Most places try to give you as little as possible. I try to give people a decent place to stay where they receive more than they are entitled to for what they're paying. I want people to come in with a smile and leave with a smile. It's fun."

Hanna-Barbera Productions sued the Madonna Inn in 1983, alleging copyright infringement over the Inn's "Flintstone Room" (#139) and its decorations, which included images of Fred and Wilma Flintstone and the exclamation "Yabba Dabba Doo". Room #139 is now the "Jungle Rock" junior suite. According to a 2013 interview with Clint Pearce, president of Madonna Enterprises, the "Caveman Room" (#137) was originally the "Flintstone Room".

​In popular culture:
Click on any of the following blue hyperlinks for more about the Madonna Inn:







Skyscrapers of the World, including Early Skyscrapers as well as a List of the Tallest Buildings * -- The Burj Khallifa is the World's Tallest Building: Taking the fastest elevator in the world up to the 128 floor of the Burj Khalifa, Dubai.  You feel like you are about to take off, and in a few seconds the doors open to breathtaking views from the sky lounge area where you are treated to a refreshing juice, dates, and small bites.

Pictured below: Top 10 tallest buildings in the world, ranked: Who’s on top?
A skyscraper is a tall continuously habitable building having multiple floors. Modern sources currently define skyscrapers as being at least 100 meters (330 ft) or 150 meters (490 ft) in height, though there is no universally accepted definition.

Skyscrapers are very tall high-rise buildings. Historically, the term first referred to buildings with between 10 and 20 stories when these types of buildings began to be constructed in the 1880s. Skyscrapers may host offices, hotels, residential spaces, and retail spaces.

One common feature of skyscrapers is having a steel frame that supports curtain walls. These curtain walls either bear on the framework below or are suspended from the framework above, rather than resting on load-bearing walls of conventional construction. Some early skyscrapers have a steel frame that enables the construction of load-bearing walls taller than of those made of reinforced concrete.

Modern skyscrapers' walls are not load-bearing, and most skyscrapers are characterized by large surface areas of windows made possible by steel frames and curtain walls. However, skyscrapers can have curtain walls that mimic conventional walls with a small surface area of windows.

Modern skyscrapers often have a tubular structure, and are designed to act like a hollow cylinder to resist wind, seismic, and other lateral loads. To appear more slender, allow less wind exposure and transmit more daylight to the ground, many skyscrapers have a design with setbacks, which in some cases is also structurally required.

As of February 2022, fourteen cities in the world have more than 100 skyscrapers that are 150 m (492 ft) or taller: :
  • Hong Kong with 518 skyscrapers; 
  • Shenzhen, China with 343 skyscrapers; 
  • New York City, USA with 300 skyscrapers; 
  • Dubai, UAE with 237 skyscrapers; 
  • Mumbai, India with 208 skyscrapers; 
  • Shanghai, China with 180 skyscrapers; 
  • Tokyo, Japan with 165 skyscrapers; 
  • Guangzhou, China with 152 skyscrapers; 
  • Kuala Lumpur, Malaysia with 148 skyscrapers; 
  • Chongqing, China with 135 skyscrapers; 
  • Chicago, United States with 135 skyscrapers; 
  • Wuhan, China with 109 skyscrapers; 
  • Bangkok, Thailand with 108 skyscrapers;
  • and Jakarta, Indonesia with 108 skyscrapers.
​
Definition:

​The term "skyscraper" was first applied to buildings of steel-framed construction of at least 10 stories in the late 19th century, a result of public amazement at the tall buildings being built in major American cities like Chicago, New York City, Philadelphia, Detroit, and St. Louis.

The first steel-frame skyscraper was the Home Insurance Building, originally 10 stories with a height of 42 m or 138 ft, in Chicago in 1885; two additional stories were added. 

Some point to Philadelphia's 10-story Jayne Building (1849–50) as a proto-skyscraper, or to New York's seven-floor Equitable Life Building, built in 1870.

Steel skeleton construction has allowed for today's supertall skyscrapers now being built worldwide. The nomination of one structure versus another being the first skyscraper, and why, depends on what factors are stressed.

The structural definition of the word skyscraper was refined later by architectural historians, based on engineering developments of the 1880s that had enabled construction of tall multi-storey buildings. This definition was based on the steel skeleton—as opposed to constructions of load-bearing masonry, which passed their practical limit in 1891 with Chicago's Monadnock Building.

"What is the chief characteristic of the tall office building? It is lofty. It must be tall. The force and power of altitude must be in it, the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exaltation that from bottom to top it is a unit without a single dissenting line." — Louis Sullivan's The Tall Office Building Artistically Considered (1896)

Some structural engineers define a high-rise as any vertical construction for which wind is a more significant load factor than earthquake or weight. Note that this criterion fits not only high-rises but some other tall structures, such as towers.

Different organizations from the United States and Europe define skyscrapers as buildings at least 150 metres in height or taller, with "supertall" skyscrapers for buildings higher than 300 m (984 ft) and "megatall" skyscrapers for those taller than 600 m (1,969 ft).

The tallest structure in ancient times was the 146 m (479 ft) Great Pyramid of Giza in ancient Egypt, built in the 26th century BC. It was not surpassed in height for thousands of years, the 160 m (520 ft) Lincoln Cathedral having exceeded it in 1311–1549, before its central spire collapsed. 

The latter in turn was not surpassed until the 555-foot (169 m) Washington Monument in 1884. However, being uninhabited, none of these structures actually comply with the modern definition of a skyscraper.

High-rise apartments flourished in classical antiquity. Ancient Roman insulae in imperial cities reached 10 and more stories. Beginning with Augustus (r. 30 BC-14 AD), several emperors attempted to establish limits of 20–25 m for multi-story buildings but were met with only limited success. 

Lower floors were typically occupied by shops or wealthy families, with the upper rented to the lower classes. Surviving Oxyrhynchus Papyri indicate that seven-storey buildings existed in provincial towns such as in 3rd century AD Hermopolis in Roman Egypt.

The skylines of many important medieval cities had large numbers of high-rise urban towers, built by the wealthy for defense and status. The residential Towers of 12th century Bologna numbered between 80 and 100 at a time, the tallest of which is the 97.2 m (319 ft) high Asinelli Tower.

A Florentine law of 1251 decreed that all urban buildings be immediately reduced to less than 26 m. Even medium-sized towns of the era are known to have proliferations of towers, such as the 72 up to 51 m height in San Gimignano.

The medieval Egyptian city of Fustat housed many high-rise residential buildings, which Al-Muqaddasi in the 10th century described as resembling minarets. Nasir Khusraw in the early 11th century described some of them rising up to 14 stories, with roof gardens on the top floor complete with ox-drawn water wheels for irrigating them. 

Cairo in the 16th century had high-rise apartment buildings where the two lower floors were for commercial and storage purposes and the multiple storeys above them were rented out to tenants. An early example of a city consisting entirely of high-rise housing is the 16th-century city of Shibam in Yemen.

Shibam was made up of over 500 tower houses, each one rising 5 to 11 stories high, with each floor being an apartment occupied by a single family. The city was built in this way in order to protect it from Bedouin attacks. Shibam still has the tallest mudbrick buildings in the world, with many of them over 30 m (98 ft) high.

An early modern example of high-rise housing was in 17th-century Edinburgh, Scotland, where a defensive city wall defined the boundaries of the city. Due to the restricted land area available for development, the houses increased in height instead. Buildings of 11 stories were common, and there are records of buildings as high as 14 stories. Many of the stone-built structures can still be seen today in the old town of Edinburgh.

The oldest iron framed building in the world, although only partially iron framed, is The Flaxmill (also locally known as the "Maltings"), in Shrewsbury, England. Built in 1797, it is seen as the "grandfather of skyscrapers", since its fireproof combination of cast iron columns and cast iron beams developed into the modern steel frame that made modern skyscrapers possible. In 2013 funding was confirmed to convert the derelict building into offices.

Early skyscrapers:
Main article: Early skyscrapers

​In 1857, Elisha Otis introduced the safety elevator at the E.V. Haughwout Building in New York City, allowing convenient and safe transport to buildings' upper floors. Otis later introduced the first commercial passenger elevators to the Equitable Life Building in 1870, considered by some architectural historians to be the first skyscraper.

Another crucial development was the use of a steel frame instead of stone or brick, otherwise the walls on the lower floors on a tall building would be too thick to be practical. An early development in this area was Oriel Chambers in Liverpool, England. It was only five floors high. 

The Royal Academy of Arts states, "critics at the time were horrified by its "large agglomerations of protruding plate glass bubbles". In fact, it was a precursor to Modernist architecture, being the first building in the world to feature a metal-framed glass curtain wall, a design element which creates light, airy interiors and has since been used the world over as a defining feature of skyscrapers".

Further developments led to what many individuals and organizations consider the world's first skyscraper, the ten-story Home Insurance Building in Chicago, built in 1884–1885. While its original height of 42.1 m (138 ft) does not even qualify as a skyscraper today, it was record setting. The building of tall buildings in the 1880s gave the skyscraper its first architectural movement, broadly termed the Chicago School, which developed what has been called the Commercial Style.

The architect, Major William Le Baron Jenney, created a load-bearing structural frame. In this building, a steel frame supported the entire weight of the walls, instead of load-bearing walls carrying the weight of the building. This development led to the "Chicago skeleton" form of construction. In addition to the steel frame, the Home Insurance Building also utilized fireproofing, elevators, and electrical wiring, key elements in most skyscrapers today.

Burnham and Root's 45 m (148 ft) Rand McNally Building in Chicago, 1889, was the first all-steel framed skyscraper, while Louis Sullivan's 41 m (135 ft) Wainwright Building in St. Louis, Missouri, 1891, was the first steel-framed building with soaring vertical bands to emphasize the height of the building and is therefore considered to be the first early skyscraper.

In 1889, the Mole Antonelliana in Italy was 167 m (549 ft) tall.

Most early skyscrapers emerged in the land-strapped areas of Chicago and New York City toward the end of the 19th century. A land boom in Melbourne, Australia between 1888 and 1891 spurred the creation of a significant number of early skyscrapers, though none of these were steel reinforced and few remain today. Height limits and fire restrictions were later introduced.

In the late 1800s, London builders found building heights limited due to issues with existing buildings. High-rise development in London is restricted at certain sites if it would obstruct protected views of St Paul's Cathedral and other historic buildings. This policy, 'St Paul’s Heights', has officially been in operation since 1937.

Concerns about aesthetics and fire safety had likewise hampered the development of skyscrapers across continental Europe for the first half of the 20th century. Some notable exceptions are:
After an early competition between Chicago and New York City for the world's tallest building, New York took the lead by 1895 with the completion of the 103 m (338 ft) tall American Surety Building, leaving New York with the title of the world's tallest building for many years.

Modern skyscrapers:

Modern skyscrapers are built with steel or reinforced concrete frameworks and curtain walls of glass or polished stone. They use mechanical equipment such as water pumps and elevators. Since the 1960s, according to the CTBUH, the skyscraper has been reoriented away from a symbol for North American corporate power to instead communicate a city or nation's place in the world.

Skyscraper construction entered a three-decades-long era of stagnation in 1930 due to the Great Depression and then World War II.

Shortly after the war ended, the Soviet Union began construction on a series of skyscrapers in Moscow. Seven, dubbed the "Seven Sisters", were built between 1947 and 1953; and one, the Main building of Moscow State University, was the tallest building in Europe for nearly four decades (1953–1990).

Other skyscrapers in the style of Socialist Classicism were erected in East Germany (Frankfurter Tor), Poland (PKiN), Ukraine (Hotel Ukrayina), Latvia (Academy of Sciences) and other Eastern Bloc countries. 

Western European countries also began to permit taller skyscrapers during the years immediately following World War II. Early examples include Edificio España (Spain) and Torre Breda (Italy).

From the 1930s onward, skyscrapers began to appear in various cities in East and Southeast Asia as well as in Latin America. Finally, they also began to be constructed in cities in Africa, the Middle East, South Asia and Oceania from the late 1950s.

​Skyscraper projects after World War II typically rejected the classical designs of the early skyscrapers, instead embracing the uniform international style; many older skyscrapers were redesigned to suit contemporary tastes or even demolished—such as New York's Singer Building, once the world's tallest skyscraper.

German architect Ludwig Mies van der Rohe became one of the world's most renowned architects in the second half of the 20th century. He conceived the glass façade skyscraper and, along with Norwegian Fred Severud, designed the Seagram Building in 1958, a skyscraper that is often regarded as the pinnacle of modernist high-rise architecture.

Skyscraper construction surged throughout the 1960s. The impetus behind the upswing was a series of transformative innovations which made it possible for people to live and work in "cities in the sky".

​In the early 1960s Bangladeshi-American structural engineer Fazlur Rahman Khan, considered the "father of tubular designs" for high-rises, discovered that the dominating rigid steel frame structure was not the only system apt for tall buildings, marking a new era of skyscraper construction in terms of multiple structural systems. 

Khan's central innovation in skyscraper design and construction was the concept of the "tube" structural system, including the "framed tube", "trussed tube", and "bundled tube". His "tube concept", using all the exterior wall perimeter structure of a building to simulate a thin-walled tube, revolutionized tall building design. 

These systems allow greater economic efficiency, and also allow skyscrapers to take on various shapes, no longer needing to be rectangular and box-shaped. 

The first building to employ the tube structure was the Chestnut De-Witt apartment building, considered to be a major development in modern architecture. These new designs opened an economic door for contractors, engineers, architects, and investors, providing vast amounts of real estate space on minimal plots of land. 

Over the next fifteen years, many towers were built by Fazlur Rahman Khan and the "Second Chicago School", including the hundred-story John Hancock Center and the massive 442 m (1,450 ft) Willis Tower. Other pioneers of this field include Hal Iyengar, William LeMessurier, and Minoru Yamasaki, the architect of the World Trade Center.

Many buildings designed in the 70s lacked a particular style and recalled ornamentation from earlier buildings designed before the 50s. These design plans ignored the environment and loaded structures with decorative elements and extravagant finishes. 

This approach to design was opposed by Fazlur Khan and he considered the designs to be whimsical rather than rational. Moreover, he considered the work to be a waste of precious natural resources. Khan's work promoted structures integrated with architecture and the least use of material resulting in the smallest impact on the environment. 

​The next era of skyscrapers will focus on the environment including performance of structures, types of material, construction practices, absolute minimal use of materials/natural resources, embodied energy within the structures, and more importantly, a holistically integrated building systems approach.

Modern building practices regarding supertall structures have led to the study of "vanity height". Vanity height, according to the CTBUH, is the distance between the highest floor and its architectural top (excluding antennae, flagpole or other functional extensions).

Vanity height first appeared in New York City skyscrapers as early as the 1920s and 1930s but supertall buildings have relied on such uninhabitable extensions for on average 30% of their height, raising potential definitional and sustainability issues. 

The current era of skyscrapers focuses on sustainability, its built and natural environments, including the performance of structures, types of materials, construction practices, absolute minimal use of materials and natural resources, energy within the structure, and a holistically integrated building systems approach. LEED is a current green building standard.

Architecturally, with the movements of Postmodernism, New Urbanism and New Classical Architecture, that established since the 1980s, a more classical approach came back to global skyscraper design, that remains popular today. Examples are:
Other contemporary styles and movements in skyscraper design include such features as: 
3 September is the global commemorative day for skyscrapers, called "Skyscraper Day".
New York City developers competed among themselves, with successively taller buildings claiming the title of "world's tallest" in the 1920s and early 1930s, culminating with the completion of the 318.9 m (1,046 ft) Chrysler Building in 1930 and the 443.2 m (1,454 ft) Empire State Building in 1931, the world's tallest building for forty years.

The first completed 417 m (1,368 ft) tall World Trade Center tower became the world's tallest building in 1972. However, it was overtaken by the Sears Tower (now Willis Tower) in Chicago within two years. The 442 m (1,450 ft) tall Sears Tower stood as the world's tallest building for 24 years, from 1974 until 1998, until it was edged out by 452 m (1,483 ft) Petronas Twin Towers in Kuala Lumpur, which held the title for six years.

Design and construction:
Main article: Skyscraper design and construction
​
The design and construction of skyscrapers involves creating safe, habitable spaces in very tall buildings. The buildings must support their weight, resist wind and earthquakes, and protect occupants from fire. Yet they must also be conveniently accessible, even on the upper floors, and provide utilities and a comfortable climate for the occupants.

The problems posed in skyscraper design are considered among the most complex encountered given the balances required between economics, engineering, and construction management.

One common feature of skyscrapers is a steel framework from which curtain walls are suspended, rather than load-bearing walls of conventional construction. Most skyscrapers have a steel frame that enables them to be built taller than typical load-bearing walls of reinforced concrete.

Skyscrapers usually have a particularly small surface area of what are conventionally thought of as walls. Because the walls are not load-bearing most skyscrapers are characterized by surface areas of windows made possible by the concept of steel frame and curtain wall.

However, skyscrapers can also have curtain walls that mimic conventional walls and have a small surface area of windows.

The concept of a skyscraper is a product of the industrialized age, made possible by cheap fossil fuel derived energy and industrially refined raw materials such as steel and concrete. The construction of skyscrapers was enabled by steel frame construction that surpassed brick and mortar construction starting at the end of the 19th century and finally surpassing it in the 20th century together with reinforced concrete construction as the price of steel decreased and labor costs increased.

The steel frames become inefficient and uneconomic for supertall buildings as usable floor space is reduced for progressively larger supporting columns. Since about 1960, tubular designs have been used for high rises. This reduces the usage of material (more efficient in economic terms – Willis Tower uses a third less steel than the Empire State Building) yet allows greater height. It allows fewer interior columns, and so creates more usable floor space. It further enables buildings to take on various shapes.

Elevators are characteristic to skyscrapers. In 1852 Elisha Otis introduced the safety elevator, allowing convenient and safe passenger movement to upper floors. Another crucial development was the use of a steel frame instead of stone or brick, otherwise the walls on the lower floors on a tall building would be too thick to be practical. Today major manufacturers of elevators include Otis, ThyssenKrupp, Schindler, and KONE.

Advances in construction techniques have allowed skyscrapers to narrow in width, while increasing in height. Some of these new techniques include mass dampers to reduce vibrations and swaying, and gaps to allow air to pass through, reducing wind shear.

Basic design considerations:

Good structural design is important in most building design, but particularly for skyscrapers since even a small chance of catastrophic failure is unacceptable given the high price. This presents a paradox to civil engineers: the only way to assure a lack of failure is to test for all modes of failure, in both the laboratory and the real world.

But the only way to know of all modes of failure is to learn from previous failures. Thus, no engineer can be absolutely sure that a given structure will resist all loadings that could cause failure but can only have large enough margins of safety such that a failure is acceptably unlikely. When buildings do fail, engineers question whether the failure was due to some lack of foresight or due to some unknowable factor.

Loading and vibration:

The load a skyscraper experiences is largely from the force of the building material itself. In most building designs, the weight of the structure is much larger than the weight of the material that it will support beyond its own weight.

In technical terms, the dead load, the load of the structure, is larger than the live load, the weight of things in the structure (people, furniture, vehicles, etc.). As such, the amount of structural material required within the lower levels of a skyscraper will be much larger than the material required within higher levels.

This is not always visually apparent. The Empire State Building's setbacks are actually a result of the building code at the time (1916 Zoning Resolution), and were not structurally required. On the other hand, John Hancock Center's shape is uniquely the result of how it supports loads.

Vertical supports can come in several types, among which the most common for skyscrapers can be categorized as steel frames, concrete cores, tube within tube design, and shear walls.

The wind loading on a skyscraper is also considerable. In fact, the lateral wind load imposed on supertall structures is generally the governing factor in the structural design. Wind pressure increases with height, so for very tall buildings, the loads associated with wind are larger than dead or live loads.

Other vertical and horizontal loading factors come from varied, unpredictable sources, such as earthquakes.

Steel frame:

By 1895, steel had replaced cast iron as skyscrapers' structural material. Its malleability allowed it to be formed into a variety of shapes, and it could be riveted, ensuring strong connections. 

The simplicity of a steel frame eliminated the inefficient part of a shear wall, the central portion, and consolidated support members in a much stronger fashion by allowing both horizontal and vertical supports throughout.

Among steel's drawbacks is that as more material must be supported as height increases, the distance between supporting members must decrease, which in turn increases the amount of material that must be supported. This becomes inefficient and uneconomic for buildings above 40 storeys tall as usable floor spaces are reduced for supporting column and due to more usage of steel.

Tube structural systems:
See also: Tube (structure)

A new structural system of framed tubes was developed by Fazlur Rahman Khan in 1963. The framed tube structure is defined as "a three-dimensional space structure composed of three, four, or possibly more frames, braced frames, or shear walls, joined at or near their edges to form a vertical tube-like structural system capable of resisting lateral forces in any direction by cantilevering from the foundation". 

Closely spaced interconnected exterior columns form the tube. Horizontal loads (primarily wind) are supported by the structure as a whole. Framed tubes allow fewer interior columns, and so create more usable floor space, and about half the exterior surface is available for windows.

Where larger openings like garage doors are required, the tube frame must be interrupted, with transfer girders used to maintain structural integrity. Tube structures cut down costs, at the same time allowing buildings to reach greater heights.

Concrete tube-frame construction was first used in the DeWitt-Chestnut Apartment Building, completed in Chicago in 1963, and soon after in the John Hancock Center and World Trade Center.

The tubular systems are fundamental to tall building design. Most buildings over 40-storeys constructed since the 1960s now use a tube design derived from Khan's structural engineering principles, examples including the construction of the World Trade Center, Aon Center, Petronas Towers, Jin Mao Building, and most other supertall skyscrapers since the 1960s. The strong influence of tube structure design is also evident in the construction of the current tallest skyscraper, the Burj Khalifa.

Trussed tube and X-bracing:

Pictured below: (By Luthador - computer diagrams, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=19913498): ​Changes of structure with height; the tubular systems are fundamental for supertall buildings.
Khan pioneered several other variations of the tube structure design. One of these was the concept of X-bracing, or the trussed tube, first employed for the John Hancock Center. This concept reduced the lateral load on the building by transferring the load into the exterior columns. This allows for a reduced need for interior columns thus creating more floor space.

This concept can be seen in the John Hancock Center, designed in 1965 and completed in 1969. One of the most famous buildings of the structural expressionist style, the skyscraper's distinctive X-bracing exterior is actually a hint that the structure's skin is indeed part of its 'tubular system'.

This idea is one of the architectural techniques the building used to climb to record heights (the tubular system is essentially the spine that helps the building stand upright during wind and earthquake loads). This X-bracing allows for both higher performance from tall structures and the ability to open up the inside floorplan (and usable floor space) if the architect desires.

The John Hancock Center was far more efficient than earlier steel-frame structures. Where the Empire State Building (1931), required about 206 kilograms of steel per square meter and 28 Liberty Street (1961) required 275, the John Hancock Center required only 145. The trussed tube concept was applied to many later skyscrapers, including the Onterie Center, Citigroup Center and Bank of China Tower.

​Bundled tube: An important variation on the tube frame is the bundled tube, which uses several interconnected tube frames. The Willis Tower in Chicago used this design, employing nine tubes of varying height to achieve its distinct appearance. The bundled tube structure meant that "buildings no longer need be boxlike in appearance: they could become sculpture."

Tube in tube: Tube-in-tube system takes advantage of core shear wall tubes in addition to exterior tubes. The inner tube and outer tube work together to resist gravity loads and lateral loads and to provide additional rigidity to the structure to prevent significant deflections at the top. This design was first used in One Shell Plaza. Later buildings to use this structural system include the Petronas Towers.

Outrigger and belt truss: The outrigger and belt truss system is a lateral load resisting system in which the tube structure is connected to the central core wall with very stiff outriggers and belt trusses at one or more levels. 

BHP House was the first building to use this structural system followed by the First Wisconsin Center, since renamed U.S. Bank Center, in Milwaukee. The center rises 601 feet, with three belt trusses at the bottom, middle and top of the building. The exposed belt trusses serve aesthetic and structural purposes. Later buildings to use this include Shanghai World Financial Center.

Concrete tube structures: The last major buildings engineered by Khan were the One Magnificent Mile and Onterie Center in Chicago, which employed his bundled tube and trussed tube system designs respectively. In contrast to his earlier buildings, which were mainly steel, his last two buildings were concrete. His earlier DeWitt-Chestnut Apartments building, built in 1963 in Chicago, was also a concrete building with a tube structure. Trump Tower in New York City is also another example that adapted this system.

Shear wall frame interaction system: Khan developed the shear wall frame interaction system for mid high-rise buildings. This structural system uses combinations of shear walls and frames designed to resist lateral forces. 

The first building to use this structural system was the 35-stories Brunswick Building. The Brunswick building was completed in 1965 and became the tallest reinforced concrete structure of its time. The structural system of Brunswick Building consists of a concrete shear wall core surrounded by an outer concrete frame of columns and spandrels.

Apartment buildings up to 70 stories high have successfully used this concept.

The elevator conundrum:

The invention of the elevator was a precondition for the invention of skyscrapers, given that most people would not (or could not) climb more than a few flights of stairs at a time.

The elevators in a skyscraper are not simply a necessary utility, like running water and electricity, but are in fact closely related to the design of the whole structure: a taller building requires more elevators to service the additional floors, but the elevator shafts consume valuable floor space.

If the service core, which contains the elevator shafts, becomes too big, it can reduce the profitability of the building. Architects must therefore balance the value gained by adding height against the value lost to the expanding service core.

Many tall buildings use elevators in a non-standard configuration to reduce their footprint.

Buildings such as the former World Trade Center Towers and Chicago's John Hancock Center use sky lobbies, where express elevators take passengers to upper floors which serve as the base for local elevators. This allows architects and engineers to place elevator shafts on top of each other, saving space. Sky lobbies and express elevators take up a significant amount of space, however, and add to the amount of time spent commuting between floors.

​Other buildings, such as the Petronas Towers, use double-deck elevators, allowing more people to fit in a single elevator, and reaching two floors at every stop. It is possible to use even more than two levels on an elevator, although this has never been done. The main problem with double-deck elevators is that they cause everyone in the elevator to stop when only person on one level needs to get off at a given floor.

​Buildings with sky lobbies include the World Trade Center, Petronas Twin Towers, Willis Tower and Taipei 101. The 44th-floor sky lobby of the John Hancock Center also featured the first high-rise indoor swimming pool, which remains the highest in the United States.

Economic rationale:

​Skyscrapers are usually situated in city centers where the price of land is high. Constructing a skyscraper becomes justified if the price of land is so high that it makes economic sense to build upward as to minimize the cost of the land per the total floor area of a building.

Thus the construction of skyscrapers is dictated by economics and results in skyscrapers in a certain part of a large city unless a building code restricts the height of buildings.

Skyscrapers are rarely seen in small cities and they are characteristic of large cities, because of the critical importance of high land prices for the construction of skyscrapers. Usually only office, commercial and hotel users can afford the rents in the city center and thus most tenants of skyscrapers are of these classes.

Today, skyscrapers are an increasingly common sight where land is expensive, as in the centers of big cities, because they provide such a high ratio of rentable floor space per unit area of land.

One problem with skyscrapers is car parking. In the largest cities most people commute via public transport, but in smaller cities many parking spaces are needed. Multi-story car parks are impractical to build very tall, so much land area is needed.

Another disadvantage of very high skyscrapers is the loss of usable floorspace, as many elevator shafts are needed to enable performant vertical travelling. This led to the introduction of express lifts and sky lobbies where transfer to slower distribution lifts can be done.

Environmental impact:
Further information: Bird-skyscraper collisions

​Constructing a single skyscraper requires large quantities of materials like steel, concrete, and glass, and these materials represent significant embodied energy. Skyscrapers are thus material and energy intensive buildings, but skyscrapers can have long lifespans, for example, the Empire State Building in New York City, United States was completed in 1931 and remains in active use.

Skyscrapers have considerable mass, requiring a stronger foundation than a shorter, lighter building. In construction, building materials must be lifted to the top of a skyscraper during construction, requiring more energy than would be necessary at lower heights.

Furthermore, a skyscraper consumes much electricity because potable and non-potable water have to be pumped to the highest occupied floors, skyscrapers are usually designed to be mechanically ventilated, elevators are generally used instead of stairs, and electric lights are needed in rooms far from the windows and windowless spaces such as elevators, bathrooms and stairwells.

Skyscrapers can be artificially lit and the energy requirements can be covered by renewable energy or other electricity generation with low greenhouse gas emissions. Heating and cooling of skyscrapers can be efficient, because of centralized HVAC systems, heat radiation blocking windows and small surface area of the building.

There is Leadership in Energy and Environmental Design (LEED) certification for skyscrapers. For example, the Empire State Building received a gold Leadership in Energy and Environmental Design rating in September 2011 and the Empire State Building is the tallest LEED certified building in the United States, proving that skyscrapers can be environmentally friendly.

The 30 St Mary Axe in London, the United Kingdom is another example of an environmentally friendly skyscraper.

In the lower levels of a skyscraper a larger percentage of the building floor area must be devoted to the building structure and services than is required for lower buildings:
  • More structure – because it must be stronger to support more floors above
  • The elevator conundrum creates the need for more lift shafts—everyone comes in at the bottom and they all have to pass through the lower part of the building to get to the upper levels.
  • Building services – power and water enter the building from below and have to pass through the lower levels to get to the upper levels.

In low-rise structures, the support rooms (chillers, transformers, boilers, pumps and air handling units) can be put in basements or roof space—areas which have low rental value.

There is, however, a limit to how far this plant can be located from the area it serves. The farther away it is the larger the risers for ducts and pipes from this plant to the floors they serve and the more floor area these risers take. In practice this means that in highrise buildings this plant is located on 'plant levels' at intervals up the building.

Operational energy:

The building sector accounts for approximately 50% of greenhouse gas emissions, with operational energy accounting for 80-90% of building related energy use. Operational energy use is affected by the magnitude of conduction between the interior and exterior, convection from infiltrating air, and radiation through glazing.

The extent to which these factors affect the operational energy vary depending on the microclimate of the skyscraper, with increased wind speeds as the height of the skyscraper increases, and a decrease in the dry bulb temperature as the altitude increases.

For example, when moving from 1.5 meters to 284 meters, the dry bulb temperature decreased by 1.85oC while the wind speeds increased from 2.46 meters per seconds to 7.75 meters per second, which led to a 2.4% decrease in summer cooling in reference to the Freedom Tower in New York City.

However, for the same building it was found that the annual energy use intensity was 9.26% higher because of the lack of shading at high altitudes which increased the cooling loads for the remainder of the year while a combination of temperature, wind, shading, and the effects of reflections led to a combined 13.13% increase in annual energy use intensity. 

In a study performed by Leung and Ray in 2013, it was found that the average energy use intensity of a structure with between 0 and 9 floors was approximately 80 kBtu/ft/yr, while the energy use intensity of a structure with more than 50 floors was about 117 kBtu/ft/yr.

The slight decrease in energy use intensity over 30-39 floors can be attributed to the fact that the increase in pressure within the heating, cooling, and water distribution systems levels out at a point between 40 and 49 floors and the energy savings due to the microclimate of higher floors are able to be seen. There is a gap in data in which another study looking at the same information but for taller buildings is needed.

Elevators:

A portion of the operational energy increase in tall buildings is related to the usage of elevators because the distance traveled and the speed at which they travel increases as the height of the building increases. Between 5 and 25% of the total energy consumed in a tall building is from the use of elevators. As the height of the building increases it is also more inefficient because of the presence of higher drag and friction losses.

Embodied energy:

The embodied energy associated with the construction of skyscrapers varies based on the materials used. Embodied energy is quantified per unit of material. Skyscrapers inherently have higher embodied energy than low-rise buildings due to the increase in material used as more floors are built. A comparison of the total embodied energy of different floor types and the unit embodied energy per floor type for buildings with between 20 and 70 stories.

For all floor types except for steel-concrete floors, it was found that after 60 stories, there was a decrease in unit embodied energy but when considering all floors, there was exponential growth due to a double dependence on height. The first of which is the relationship between an increase in height leading to an increase in the quantity of materials used, and the second being the increase in height leading to an increase in size of elements to increase the structural capacity of the building.

A careful choice in building materials can likely reduce the embodied energy without reducing the number of floors constructed within the bounds presented.

Embodied carbon:

Similar to embodied energy, the embodied carbon of a building is dependent on the materials chosen for its construction. The total embodied carbon for different structure types for increasing numbers of stories and the embodied carbon per square meter of gross floor area for the same structure types as the number of stories increases.

Both methods of measuring the embodied carbon show that there is a point where the embodied carbon is lowest before increasing again as the height increases. For the total embodied carbon it is dependent on the structure type, but is either around 40 stories, or approximately 60 stories. For the square meter of gross floor area, the lowest embodied carbon was found at either 40 stories, or approximately 70 stories.

Air pollution:

In urban areas, the configuration of buildings can lead to exacerbated wind patterns and an uneven dispersion of pollutants. When the height of buildings surrounding a source of air pollution is increased, the size and occurrence of both "dead-zones" and "hotspots" were increased in areas where there were almost no pollutants and high concentrations of pollutants, respectively.

This progression shows how as the height of Building F increases, the dispersion of pollutants decreases, but the concentration within the building cluster increases. The variation of velocity fields can be affected by the construction of new buildings as well, rather than solely the increase in height as shown in the figure. 

As urban centers continue to expand upward and outward, the present velocity fields will continue to trap polluted air close to the tall buildings within the city. Specifically within major cities, a majority of air pollution is derived from transportation, whether it be cars, trains, planes, or boats.

As urban sprawl continues and pollutants continue to be emitted, the air pollutants will continue to be trapped within these urban centers. Different pollutants can be detrimental to human health in different ways. For example, particulate matter from vehicular exhaust and power generation can cause asthma, bronchitis, and cancer, while nitrogen dioxide from motor engine combustion processes can cause neurological disfunction and asphyxiation.

LEED/green building rating:

Like with all other buildings, if special measures are taken to incorporate sustainable design methods early on in the design process, it is possible to obtain a green building rating, such as a Leadership in Energy and Environmental Design (LEED) certification.

An integrated design approach is crucial in making sure that design decisions that positively impact the whole building are made at the beginning of the process. Because of the massive scale of skyscrapers, the decisions made by the design team must take all factors into account, including the buildings impact on the surrounding community, the effect of the building on the direction in which air and water move, and the impact of the construction process, must be taken into account.

There are several design methods that could be employed in the construction of a skyscraper that would take advantage of the height of the building. The microclimates that exist as the height of the building increases can be taken advantage of to increase the natural ventilation, decrease the cooling load, and increase daylighting.

Natural ventilation can be increased by utilizing the stack effect, in which warm air moves upward and increases the movement of the air within the building. If utilizing the stack effect, buildings must take extra care to design for fire separation techniques, as the stack effect can also exacerbate the severity of a fire. 

Skyscrapers are considered to be internally dominated buildings because of their size as well as the fact that a majority are used as some sort of office building with high cooling loads.

Due to the microclimate created at the upper floors with the increased wind speed and the decreased dry bulb temperatures, the cooling load will naturally be reduced because of infiltration through the thermal envelope. By taking advantage of the naturally cooler temperatures at higher altitudes, skyscrapers can reduce their cooling loads passively.

On the other side of this argument, is the lack of shading at higher altitudes by other buildings, so the solar heat gain will be larger for higher floors than for floors at the lower end of the building. Special measures should be taken to shade upper floors from sunlight during the overheated period to ensure thermal comfort without increasing the cooling load.

​History of the tallest skyscrapers:
Main articles: 
At the beginning of the 20th century, New York City was a center for the Beaux-Arts architectural movement, attracting the talents of such great architects as Stanford White and Carrere and Hastings.

As better construction and engineering technology became available as the century progressed, New York City and Chicago became the focal point of the competition for the tallest building in the world.

Each city's striking skyline has been composed of numerous and varied skyscrapers, many of which are icons of 20th-century architecture:
  • The E. V. Haughwout Building in Manhattan was the first building to successfully install a passenger elevator, doing so on 23 March 1857.
  • The Equitable Life Building in Manhattan, was the first office building to feature passenger elevators.
  • The Home Insurance Building in Chicago, which was built in 1884, was the first tall building with a steel skeleton.
  • The Singer Building, an expansion to an existing structure in Lower Manhattan, New York City, was the world's tallest building when completed in 1908. Designed by Ernest Flagg, it was 612 feet (187 m) tall.
  • The Metropolitan Life Insurance Company Tower, across Madison Square Park from the Flatiron Building, was the world's tallest building when completed in 1909. It was designed by the architectural firm of Napoleon LeBrun & Sons and stood 700 feet (210 m) tall.
  • The Woolworth Building, a neo-Gothic "Cathedral of Commerce" overlooking New York City Hall, was designed by Cass Gilbert. At 792 feet (241 m), it became the world's tallest building upon its completion in 1913, an honor it retained until 1930.
  • 40 Wall Street, a 71-story, 927-foot-tall (283 m) neo-Gothic tower designed by H. Craig Severance, was the world's tallest building for a month in May 1930.
  • The Chrysler Building in New York City took the lead in late May 1930 as the tallest building in the world, reaching 1,046 feet (319 m). Designed by William Van Alen, an Art Deco style masterpiece with an exterior crafted of brick, the Chrysler Building continues to be a favorite of New Yorkers to this day.
  • The Empire State Building, nine streets south of the Chrysler in Manhattan, topped out at 1,250 feet (381 m) and 102 stories in 1931. The first building to have more than 100 floors, it was designed by Shreve, Lamb and Harmon in the contemporary Art Deco style and takes its name from the nickname of New York State. The antenna mast added in 1951 brought pinnacle height to 1,472 feet (449 m), lowered in 1984 to 1,454 feet (443 m).
  • The World Trade Center officially surpassed the Empire State Building in 1970, was completed in 1973, and consisted of two tall towers and several smaller buildings. For a short time the first of the two towers was the world's tallest building, until surpassed by the second. Upon completion, the towers stood for 28 years, until the September 11 attacks destroyed the buildings in 2001.
  • The Willis Tower (formerly Sears Tower) was completed in 1974. It was the first building to employ the "bundled tube" structural system, designed by Fazlur Khan. It was surpassed in height by the Petronas Towers in 1998, but remained the tallest in some categories until Burj Khalifa surpassed it in all categories in 2010. It is currently the second tallest building in the United States, after One World Trade Center, which was built to replace the destroyed Trade Towers.

Momentum in setting records passed from the United States to other nations with the opening of the Petronas Twin Towers in Kuala Lumpur, Malaysia, in 1998. The record for the world's tallest building has remained in Asia since the opening of Taipei 101 in Taipei, Taiwan, in 2004.

A number of architectural records, including those of the world's tallest building and tallest free-standing structure, moved to the Middle East with the opening of the Burj Khalifa in Dubai, United Arab Emirates.

This geographical transition is accompanied by a change in approach to skyscraper design.

For much of the 20th century large buildings took the form of simple geometrical shapes. This reflected the "international style" or modernist philosophy shaped by Bauhaus architects early in the century. The last of these, the Willis Tower and World Trade Center towers in New York, erected in the 1970s, reflect the philosophy.

Tastes shifted in the decade which followed, and new skyscrapers began to exhibit postmodernist influences. This approach to design avails itself of historical elements, often adapted and re-interpreted, in creating technologically modern structures. The Petronas

Twin Towers recall Asian pagoda architecture and Islamic geometric principles. Taipei 101 likewise reflects the pagoda tradition as it incorporates ancient motifs such as the ruyi symbol.

The Burj Khalifa draws inspiration from traditional Islamic art. Architects in recent years have sought to create structures that would not appear equally at home if set in any part of the world, but that reflect the culture thriving in the spot where they stand.

The following list measures height of the roof, not the pinnacle. The more common gauge is the "highest architectural detail"; such ranking would have included Petronas Towers, built in 1996:
​Future developments:
See also: 
Proposals for such structures have been put forward, including the Burj Mubarak Al Kabir in Kuwait and Azerbaijan Tower in Baku. Kilometer-plus structures present architectural challenges that may eventually place them in a new architectural category. 

The first building under construction and planned to be over one kilometer tall is the Jeddah Tower.

Wooden skyscrapers:
Main article: List of tallest wooden buildings

Several wooden skyscraper designs have been designed and built. A 14-story housing project in Bergen, Norway known as 'Treet' or 'The Tree' became the world's tallest wooden apartment block when it was completed in late 2015. The Tree's record was eclipsed by Brock Commons, an 18-storey wooden dormitory at the University of British Columbia in Canada, when it was completed in September 2016.

A 40-story residential building 'Trätoppen' has been proposed by architect Anders Berensson to be built in Stockholm, Sweden. Trätoppen would be the tallest building in Stockholm, though there are no immediate plans to begin construction. 

The tallest currently-planned wooden skyscraper is the 70-storey W350 Project in Tokyo, to be built by the Japanese wood products company Sumitomo Forestry Co. to celebrate its 350th anniversary in 2041. 

An 80-story wooden skyscraper, the River Beech Tower, has been proposed by a team including architects Perkins + Will and the University of Cambridge. The River Beech Tower, on the banks of the Chicago River in Chicago, Illinois, would be 348 feet shorter than the W350 Project despite having 10 more stories.

Wooden skyscrapers are estimated to be around a quarter of the weight of an equivalent reinforced-concrete structure as well as reducing the building carbon footprint by 60–75%. Buildings have been designed using cross-laminated timber (CLT) which gives a higher rigidity and strength to wooden structures. CLT panels are prefabricated and can therefore save on building time.

See also:

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​Architectural Engineering Pictured below: Intelligent Mechanical Engineering
Architectural engineering, also known as building engineering or architecture engineering, is an engineering discipline that deals with the the following:
From reduction of greenhouse gas emissions to the construction of resilient buildings, architectural engineers are at the forefront of addressing several major challenges of the 21st century. They apply the latest scientific knowledge and technologies to the design of buildings.

Architectural engineering as a relatively new licensed profession emerged in the 20th century as a result of the rapid technological developments. Architectural engineers are at the forefront of two major historical opportunities that today's world is immersed in: (1) that of rapidly advancing computer-technology, and (2) the parallel revolution arising from the need to create a sustainable planet.

Distinguished from architecture as an art of design, architectural engineering, is the art and science of engineering and construction as practiced in respect of buildings.

​Related engineering and design fields:

Structural Engineering:
Main article: Structural engineering

​Structural engineering involves the analysis and design of the built environment (buildings, bridges, equipment supports, towers and walls).

Those concentrating on buildings are sometimes informally referred to as "building engineers". Structural engineers require expertise in strength of materials, structural analysis, and in predicting structural load such as from weight of the building, occupants and contents, and extreme events such as wind, rain, ice, and seismic design of structures which is referred to as earthquake engineering.

Architectural Engineers sometimes incorporate structural as one aspect of their designs; the structural discipline when practiced as a specialty works closely with architects and other engineering specialists.

Mechanical, electrical, and plumbing (MEP):

Mechanical engineering and electrical engineering engineers are specialists when engaged in the building design fields. This is known as mechanical, electrical, and plumbing (MEP) throughout the United States, or building services engineering in the United Kingdom, Canada, and Australia. Mechanical engineers often design and oversee the heating, ventilation and air conditioning (HVAC), plumbing, and rainwater systems.

Plumbing designers often include design specifications for simple active fire protection systems, but for more complicated projects, fire protection engineers are often separately retained.

Electrical engineers are responsible for the building's: 
​The architectural engineer (PE) in the United States:
Main article: Architectural engineer (PE)

In many jurisdictions of the United States, the architectural engineer is a licensed engineering professional. 

Usually a graduate of an EAC/ABET-accredited architectural engineering university program preparing students to perform whole-building design in competition with architect-engineer teams; or for practice in one of structural, mechanical or electrical fields of building design, but with an appreciation of integrated architectural requirements.

Although some states require a BS degree from an EAC/ABET-accredited engineering program, with no exceptions, about two thirds of the states accept BS degrees from ETAC/ABET-accredited architectural engineering technology programs to become licensed engineering professionals.

Architectural engineering technology graduates, with applied engineering skills, often gain further learning with an MS degree in engineering and/or NAAB-accredited Masters of Architecture to become licensed as both an engineer and architect. This path requires the individual to pass state licensing exams in both disciplines.

States handle this situation differently on experienced gained working under a licensed engineer and/or registered architect prior to taking the examinations. This education model is more in line with the educational system in the United Kingdom where an accredited MEng or MS degree in engineering for further learning is required by the Engineering Council to be registered as a Chartered Engineer.

The National Council of Architectural Registration Boards (NCARB) facilitate the licensure and credentialing of architects but requirements for registration often vary between states.

In the state of New Jersey, a registered architect is allowed to sit for the PE exam and a professional engineer is allowed to take the design portions of the Architectural Registration Exam (ARE), to become a registered architect. It is becoming more common for highly educated architectural engineers in the United States to become licensed as both engineer and architect.

Formal architectural engineering education, following the engineering model of earlier disciplines, developed in the late 19th century, and became widespread in the United States by the mid-20th century.

With the establishment of a specific "architectural engineering" NCEES Professional Engineering registration examination in the 1990s, and first offering in April 2003, architectural engineering became recognized as a distinct engineering discipline in the United States. Up to date NCEES account allows engineers to apply to other states PE license "by comity".

In most license-regulated jurisdictions, architectural engineers are not entitled to practice architecture unless they are also licensed as architects. Practice of structural engineering in high-risk locations, e.g., due to strong earthquakes, or on specific types of higher importance buildings such as hospitals, may require separate licensing as well. Regulations and customary practice vary widely by state or city.

The architect as architectural engineer:
See also: Architect § Professional requirements

In some countries, the practice of architecture includes planning, designing and overseeing the building's construction, and architecture, as a profession providing architectural services, is referred to as "architectural engineering".

In Japan, a "first-class architect" plays the dual role of architect and building engineer, although the services of a licensed "structural design first-class architect"(構造設計一級建築士) are required for buildings over a certain scale.

In some languages, such as Korean and Arabic, "architect" is literally translated as "architectural engineer". In some countries, an "architectural engineer" (such as the ingegnere edile in Italy) is entitled to practice architecture and is often referred to as an architect. These individuals are often also structural engineers.

In other countries, such as Germany, Austria, Iran, and most of the Arab countries, architecture graduates receive an engineering degree (Dipl.-Ing. – Diplom-Ingenieur).

In Spain, an "architect" has a technical university education and legal powers to carry out building structure and facility projects.

In Brazil, architects and engineers used to share the same accreditation process (Conselho Federal de Engenheiros, Arquitetos e Agrônomos (CONFEA) – Federal Council of Engineering, Architecture and Agronomy). Now the Brazilian architects and urbanists have their own accreditation process (CAU – Architecture and Urbanism Council). Besides traditional architecture design training,

Brazilian architecture courses also offer complementary training in engineering disciplines such as structural, electrical, hydraulic and mechanical engineering. After graduation, architects focus in architectural planning, yet they can be responsible to the whole building, when it concerns to small buildings (except in electric wiring, where the architect autonomy is limited to systems up to 30kVA, and it has to be done by an Electrical Engineer), applied to buildings, urban environment, built cultural heritage, landscape planning, interiorscape planning and regional planning.

In Greece licensed architectural engineers are graduates from architecture faculties that belong to the Polytechnic University, obtaining an "Engineering Diploma". They graduate after 5 years of studies and are fully entitled architects once they become members of the Technical Chamber of Greece (TEE – Τεχνικό Επιμελητήριο Ελλάδος). The Technical Chamber of Greece has more than 100,000 members encompassing all the engineering disciplines as well as architecture.

A prerequisite for being a member is to be licensed as a qualified engineer or architect and to be a graduate of an engineering and architecture schools of a Greek university, or of an equivalent school from abroad. The Technical Chamber of Greece is the authorized body to provide work licenses to engineers of all disciplines as well as architects, graduated in Greece or abroad. The license is awarded after examinations. The examinations take place three to four times a year. The Engineering Diploma equals a master's degree in ECTS units (300) according to the Bologna Accords.

Education:
Further information: Engineer's degree

​The architectural, structural, mechanical and electrical engineering branches each have well established educational requirements that are usually fulfilled by completion of a university program.

Architectural engineering as a single integrated field of study:
Main article: Building engineering education

Its multi-disciplinary engineering approach is what differentiates architectural engineering from architecture (the field of the architect): which is an integrated, separate and single, field of study when compared to other engineering disciplines.

Through training in and appreciation of architecture, the field seeks integration of building systems within its overall building design. Architectural engineering includes the design of building systems including heating, ventilation and air conditioning (HVAC), plumbing, fire protection, electrical, lighting, architectural acoustics, and structural systems.

In some university programs, students are required to concentrate on one of the systems; in others, they can receive a generalist architectural or building engineering degree.

See also:






​
The Statue of Liberty Pictured below as:
The Statue of Liberty (Liberty Enlightening the World; French: La Liberté éclairant le monde) is a colossal neoclassical sculpture on Liberty Island in New York Harbor in New York City, in the United States.

The copper statue, a gift from the people of France, was designed by French sculptor Frédéric Auguste Bartholdi and its metal framework was built by Gustave Eiffel.

The statue was dedicated on October 28, 1886.

The statue is a figure of Libertas, the Roman Goddess of Liberty. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed JULY IV MDCCLXXVI (July 4, 1776 in Roman numerals), the date of the U.S. Declaration of Independence.

A broken chain and shackle lie at her feet as she walks forward, commemorating the national abolition of slavery following the American Civil War. After its dedication, the statue became an icon of freedom and of the United States, seen as a symbol of welcome to immigrants arriving by sea.

Bartholdi was inspired by a French law professor and politician, Édouard René de Laboulaye, who is said to have commented in 1865 that any monument raised to U.S. independence would properly be a joint project of the French and American peoples.

The Franco-Prussian War delayed progress until 1875, when Laboulaye proposed that the French finance the statue and the United States provide the site and build the pedestal. Bartholdi completed the head and the torch-bearing arm before the statue was fully designed, and these pieces were exhibited for publicity at international expositions.

The torch-bearing arm was displayed at the Centennial Exposition in Philadelphia in 1876, and in Madison Square Park in Manhattan from 1876 to 1882. Fundraising proved difficult, especially for the Americans, and by 1885 work on the pedestal was threatened by lack of funds.

Publisher Joseph Pulitzer, of the New York World, started a drive for donations to finish the project and attracted more than 120,000 contributors, most of whom gave less than a dollar (equivalent to $33 in 2022).

The statue was built in France, shipped overseas in crates, and assembled on the completed pedestal on what was then called Bedloe's Island. The statue's completion was marked by New York's first ticker-tape parade and a dedication ceremony presided over by President Grover Cleveland.

The statue was administered by the United States Lighthouse Board until 1901 and then by the Department of War; since 1933 it has been maintained by the National Park Service as part of the Statue of Liberty National Monument, and is a major tourist attraction. Limited numbers of visitors can access the rim of the pedestal and the interior of the statue's crown from within; public access to the torch has been barred since 1916.

Design and construction process
​
Origin:

​According to the National Park Service, the idea of a monument presented by the French people to the United States was first proposed by Édouard René de Laboulaye, president of the French Anti-Slavery Society and a prominent and important political thinker of his time.

The project is traced to a mid-1865 conversation between Laboulaye, a staunch abolitionist, and Frédéric Bartholdi, a sculptor. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, is supposed to have said: "If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations." 

The National Park Service, in a 2000 report, however, deemed this a legend traced to an 1885 fundraising pamphlet, and that the statue was most likely conceived in 1870. In another essay on their website, the Park Service suggested that Laboulaye was minded to honor the Union victory and its consequences,

"With the abolition of slavery and the Union's victory in the Civil War in 1865, Laboulaye's wishes of freedom and democracy were turning into a reality in the United States. In order to honor these achievements, Laboulaye proposed that a gift be built for the United States on behalf of France. Laboulaye hoped that by calling attention to the recent achievements of the United States, the French people would be inspired to call for their own democracy in the face of a repressive monarchy."

According to sculptor Frédéric Auguste Bartholdi, who later recounted the story, Laboulaye's alleged comment was not intended as a proposal, but it inspired Bartholdi. Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye.

Bartholdi was in any event busy with other possible projects; in the late 1860s, he approached Isma'il Pasha, Khedive of Egypt, with a plan to build Progress or Egypt Carrying the Light to Asia, a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected.

There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships. 

Both the khedive and Lesseps declined the proposed statue from Bartholdi, citing the expensive cost. The Port Said Lighthouse was built instead, by François Coignet in 1869.

Any large project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia. In the war, Napoleon III was captured and deposed. Bartholdi's home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France. 

As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans. In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.

Arriving at New York Harbor, Bartholdi focused on Bedloe's Island (now named Liberty Island) as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: "land common to all the states." 

As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue. 

Bartholdi crossed the United States twice by rail, and met many Americans who he thought would be sympathetic to the project. But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.

Bartholdi had made a first model of his concept in 1870. The son of a friend of Bartholdi's, artist John LaFarge, later maintained that Bartholdi made the first sketches for the statue during his visit to La Farge's Rhode Island studio.

Bartholdi continued to develop the concept following his return to France. He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians.

One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.

Design, style, and symbolism:
​
Bartholdi and Laboulaye considered how best to express the idea of American liberty. In early American history, two female figures were frequently used as cultural symbols of the nation. 

One of these symbols, the personified Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom, and Marianne came to represent France.

Columbia had supplanted the traditional European Personification of the Americas as an "Indian princess", which had come to be regarded as uncivilized and derogatory toward Americans. 

The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves.

A Liberty figure adorned most American coins of the time, and representations of Liberty appeared in popular and civic art, including Thomas Crawford's Statue of Freedom (1863) atop the dome of the United States Capitol Building.

The statue's design evokes iconography evident in ancient history including the Egyptian goddess Isis, the ancient Greek deity of the same name, the Roman Columbia and the Christian iconography of the Virgin Mary.

​Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol. A figure of Liberty was also depicted on the Great Seal of France. However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix's famed Liberty Leading the People (1830).

In this painting, which commemorates France's July Revolution, a half-clothed Liberty leads an armed mob over the bodies of the fallen. Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes. 

Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold. Its second toe on both feet is longer than its big toe, a condition known as Morton's toe or 'Greek foot'. This was an aesthetic staple of ancient Greek art and reflects the classical influences on the statue.

Crawford's statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve as President of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet. 

Delacroix's figure wears a pileus, and Bartholdi at first considered placing one on his figure as well. Instead, he used a radiate diadem, or crown, to top its head. In so doing, he avoided a reference to Marianne, who invariably wears a pileus. 

The seven rays form a halo or aureole. They evoke the sun, the seven seas, and the seven continents, and represent another means, besides the torch, whereby Liberty enlightens the world.

Bartholdi's early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. According to popular accounts, the face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother, but Regis Huber, the curator of the Bartholdi Museum is on record as saying that this, as well as other similar speculations, have no basis in fact. 

He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose. 

Bartholdi wrote of his technique:

The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch.

Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.

​Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does stride over a broken chain, half-hidden by her robes and difficult to see from the ground. 

Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata, used to evoke the concept of law. Though Bartholdi greatly admired the United States Constitution, he chose to inscribe JULY IV MDCCLXXVI on the tablet, thus associating the date of the country's Declaration of Independence with the concept of liberty.

Bartholdi interested his friend and mentor, architect Eugène Viollet-le-Duc, in the project. As chief engineer, Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored. After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers.

An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick. Bartholdi had decided on a height of just over 151 feet (46 m) for the statue, double that of Italy's Sancarlone and the German statue of Arminius, both made with the same method.

Announcement and early work:

By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exposition in Philadelphia led Laboulaye to decide it was time to seek public support. 

In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World. The French would finance the statue; Americans would be expected to pay for the pedestal. 

The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia. French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life. 

Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.

​Initially focused on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye's political allies supported the call, as did descendants of the French contingent in the American Revolutionary War.

Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The copper may have come from multiple sources and some of it is said to have come from a mine in Visnes, Norway, though this has not been conclusively determined after testing samples. According to Cara Sutherland in her book on the statue for the Museum of the City of New York, 200,000 pounds (91,000 kg) was needed to build the statue, and the French copper industrialist Eugène Secrétan donated 128,000 pounds (58,000 kg) of copper.

Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop. 

In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition, and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities. 

The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the "Colossal Arm" or "Bartholdi Electric Light". The exhibition grounds contained a number of monumental artworks to compete for fairgoers' interest, including an outsized fountain designed by Bartholdi. 

Nevertheless, the arm proved popular in the exhibition's waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds. After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.

During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union. 

Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia. The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee". One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States. On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it.

President Rutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.

Construction in France:

​On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World's Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered. The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.

The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier. 

The following year, Bartholdi was able to obtain the services of the innovative designer and builder Gustave Eiffel. Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking.

A secondary skeleton was attached to the center pylon, then, to enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using flat iron bars which culminated in a mesh of metal straps, known as "saddles", that were riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually. To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.

Eiffel's design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown. 

Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long. As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure. 

The components of the pylon tower were built in the Eiffel factory in the nearby Parisian suburb of Levallois-Perret.

The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue's assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead, he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe's Island.

In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by United States Ambassador to France Levi P. Morton. The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors. 

Some work was performed by contractors—one of the fingers was made to Bartholdi's exacting specifications by a coppersmith in the southern French town of Montauban. By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue. 

Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York. 

​The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.

The committees in the United States faced great difficulties in obtaining funds for the construction of the pedestal. The Panic of 1873 had led to an economic depression that persisted through much of the decade.

The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete. 

There was criticism both of Bartholdi's statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation's history, rather than allegorical works like the Liberty statue. 

There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen. 

Harper's Weekly declared its wish that "M. Bartholdi and our French cousins had 'gone the whole figure' while they were about it, and given us statue and pedestal at once." The New York Times stated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances." Faced with these criticisms, the American committees took little action for several years.

Design

​The foundation of Bartholdi's statue was to be laid inside Fort Wood, a disused army base on Bedloe's Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station. The fortifications of the structure were in the shape of an eleven-point star.

The statue's foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean. In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months. He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).

Hunt's pedestal design contains elements of classical architecture, including Doric portals, as well as some elements influenced by Aztec architecture. The large mass is fragmented with architectural detail, in order to focus attention on the statue. In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance.

Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 38 of them), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises. 

According to author Louis Auchincloss, the pedestal "craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty". The committee hired former army General Charles Pomeroy Stone to oversee the construction work. 

Construction on the 15-foot-deep (4.6 m) foundation began in 1883, and the pedestal's cornerstone was laid in 1884. In Hunt's original conception, the pedestal was to have been made of solid granite.

Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks. This Stony Creek granite came from the Beattie Quarry in Branford, Connecticut. The concrete mass was the largest poured to that time.

Norwegian immigrant civil engineer Joachim Goschen Giæver designed the structural framework for the Statue of Liberty. His work involved design computations, detailed fabrication and construction drawings, and oversight of construction. In completing his engineering for the statue's frame, Giæver worked from drawings and sketches produced by Gustave Eiffel.

Fundraising:

Fundraising in the US for the pedestal had begun in 1882. The committee organized a large number of money-raising events. As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue.

At the time, she was also involved in aiding refugees to New York who had fled antisemitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue. 

​The resulting sonnet, "The New Colossus", including the lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty in American culture and is inscribed on a plaque in its museum.

​Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, also failed.

The New York committee, with only $3,000 in the bank, suspended work on the pedestal.

With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.

Joseph Pulitzer, publisher of the New York World, a New York newspaper, announced a drive to raise $100,000 (equivalent to $3,257,000 in 2022). Pulitzer pledged to print the name of every contributor, no matter how small the amount given. 

The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. "A young girl alone in the world" donated "60 cents, the result of self denial." 

One donor gave "five cents as a poor office boy's mite toward the Pedestal Fund." A group of children sent a dollar as "the money we saved to go to the circus with." Another dollar was given by a "lonely and very aged woman." 

Residents of a home for alcoholics in New York's rival city of Brooklyn—the cities would not merge until 1898—donated $15; other drinkers helped out through donation boxes in bars and saloons. 

A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35. As the donations flooded in, the committee resumed work on the pedestal. 

France raised about $250,000 to build the statue while the United States had to raise up to $300,000 to build the pedestal.

Construction:

On June 17, 1885, the French steamer Isère [fr] arrived in New York with the crates holding the disassembled statue on board. New Yorkers displayed their newfound enthusiasm for the statue. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the ship. 

After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar (equivalent to $33 in 2022).

Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel's iron framework was anchored to steel I-beams within the concrete pedestal and assembled. 

Once this was done, the sections of skin were carefully attached. Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from ropes while installing the skin sections. Bartholdi had planned to put floodlights on the torch's balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships' pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch—which was covered with gold leaf—and placed the lights inside them. 

A power plant was installed on the island to light the torch and for other electrical needs. After the skin was completed, landscape architect Frederick Law Olmsted, co-designer of Manhattan's Central Park and Brooklyn's Prospect Park, supervised a cleanup of Bedloe's Island in anticipation of the dedication. 

General Charles Stone claimed on the day of dedication that no man had died during the construction of the statue. This was not true, however, as Francis Longo, a thirty-nine-year-old Italian laborer, had been killed when an old wall fell on him.

Dedication

​​A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event. On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million.

President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to the Battery at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building on Park Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.

A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe's Island for the dedication. De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts.

A French flag draped across the statue's face was to be lowered to unveil the statue at the close of Evarts's speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts's address.[ President Cleveland spoke next, stating that the statue's "stream of light shall pierce the darkness of ignorance and man's oppression until Liberty enlightens the world". 

Bartholdi, observed near the dais, was called upon to speak, but he declined. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.

No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only women granted access were Bartholdi's wife and de Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people.

The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group's leaders made speeches applauding the embodiment of Liberty as a woman and advocating women's right to vote. 

A scheduled fireworks display was postponed until November 1 because of poor weather.

Shortly after the dedication, The Cleveland Gazette, an African American newspaper, suggested that the statue's torch not be lit until the United States became a free nation "in reality":

"Liberty enlightening the world," indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed.

The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme.

After dedication:

Lighthouse Board and War Department (1886–1933):

​When the torch was illuminated on the evening of the statue's dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as "more like a glowworm than a beacon." 

Bartholdi suggested gilding the statue to increase its ability to reflect light, but this proved too expensive. The United States Lighthouse Board took over the Statue of Liberty in 1887 and pledged to install equipment to enhance the torch's effect; in spite of its efforts, the statue remained virtually invisible at night.

When Bartholdi returned to the United States in 1893, he made additional suggestions, all of which proved ineffective. He did successfully lobby for improved lighting within the statue, allowing visitors to better appreciate Eiffel's design. 

In 1901, President Theodore Roosevelt, once a member of the New York committee, ordered the statue's transfer to the War Department, as it had proved useless as a lighthouse. A unit of the Army Signal Corps was stationed on Bedloe's Island until 1923, after which military police remained there while the island was under military jurisdiction.

Wars and other upheavals in Europe prompted large-scale emigration to the United States in the late 19th and early 20th century; many entered through New York and saw the statue not as a symbol of enlightenment, as Bartholdi had intended, but as a sign of welcome to their new home.

The association with immigration only became stronger when an immigrant processing station was opened on nearby Ellis Island. This view was consistent with Lazarus's vision in her sonnet—she described the statue as "Mother of Exiles"—but her work had become obscure. In 1903, the sonnet was engraved on a plaque that was affixed to the base of the statue.

Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled: "I saw the Statue of Liberty. And I said to myself, "Lady, you're such a beautiful! [sic] You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America." And always that statue was on my mind.

The statue rapidly became a landmark. Originally, it was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue. Believing that the patina was evidence of corrosion, Congress authorized US$62,800 (equivalent to $2,045,000 in 2022) for various repairs, and to paint the statue both inside and out. 

There was considerable public protest against the proposed exterior painting. The Army Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, "softened the outlines of the Statue and made it beautiful." The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.

​On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe's Island. Carloads of dynamite and other explosives that were being sent to Britain and France for their war efforts were detonated.

The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about $100,000 (equivalent to about $2,690,000 in 2022). The narrow ascent to the torch was closed for public-safety reasons, and it has remained closed ever since.

That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise $30,000 (equivalent to $807,000 in 2022) for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors, but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936.

An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass.

On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.

After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty bond drives that urged American citizens to support the war financially. This impressed upon the public the war's stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.

In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a national monument. A suicide occurred five years later when a man climbed out of one of the windows in the crown and jumped to his death.

Early National Park Service years (1933–1982)

In 1933, President Franklin Roosevelt ordered the statue to be transferred to the National Park Service (NPS). In 1937, the NPS gained jurisdiction over the rest of Bedloe's Island. With the Army's departure, the NPS began to transform the island into a park. 

The Works Progress Administration (WPA) demolished most of the old buildings, regraded and reseeded the eastern end of the island, and built granite steps for a new public entrance to the statue from its rear. The WPA also carried out restoration work within the statue, temporarily removing the rays from the statue's halo so their rusted supports could be replaced. Rusted cast-iron steps in the pedestal were replaced with new ones made of reinforced concrete; the upper parts of the stairways within the statue were replaced, as well. Copper sheathing was installed to prevent further damage from rainwater that had been seeping into the pedestal. 

The statue was closed to the public from May until December 1938.

During World War II, the statue remained open to visitors, although it was not illuminated at night due to wartime blackouts. It was lit briefly on December 31, 1943, and on D-Day, June 6, 1944, when its lights flashed "dot-dot-dot-dash", the Morse code for V, for victory.

New, powerful lighting was installed in 1944–1945, and beginning on V-E Day, the statue was once again illuminated after sunset. The lighting was for only a few hours each evening, and it was not until 1957 that the statue was illuminated every night, all night. In 1946, the interior of the statue within reach of visitors was coated with a special plastic so that graffiti could be washed away.

In 1956, an Act of Congress officially renamed Bedloe's Island as Liberty Island, a change advocated by Bartholdi generations earlier. The act also mentioned the efforts to found an American Museum of Immigration on the island, which backers took as federal approval of the project, though the government was slow to grant funds for it. 

Nearby Ellis Island was made part of the Statue of Liberty National Monument by proclamation of President Lyndon Johnson in 1965. In 1972, the immigration museum, in the statue's base, was finally opened in a ceremony led by President Richard Nixon.

The museum's backers never provided it with an endowment to secure its future and it closed in 1991 after the opening of an immigration museum on Ellis Island.

In 1970, Ivy Bottini led a demonstration at the statue where she and others from the National Organization for Women's New York chapter draped an enormous banner over a railing which read "WOMEN OF THE WORLD UNITE!"

Beginning December 26, 1971, 15 anti-Vietnam War veterans occupied the statue, flying a US flag upside down from her crown. They left December 28 following a federal court order. The statue was also several times taken over briefly by demonstrators publicizing causes such as Puerto Rican independence, opposition to abortion, and opposition to US intervention in Grenada.

Demonstrations with the permission of the Park Service included a Gay Pride Parade rally and the annual Captive Baltic Nations rally.

A powerful new lighting system was installed in advance of the American Bicentennial in 1976. The statue was the focal point for Operation Sail, a regatta of tall ships from all over the world that entered New York Harbor on July 4, 1976, and sailed around Liberty Island. The day concluded with a spectacular display of fireworks near the statue.

Renovation and rededication (1982–2000):
Main article: Conservation-restoration of the Statue of Liberty
See also: Liberty Weekend

The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986. 

In 1982, it was announced that the statue was in need of considerable restoration. Careful study had revealed that the right arm had been improperly attached to the main structure. It was swaying more and more when strong winds blew and there was a significant risk of structural failure.

In addition, the head had been installed 2 feet (0.61 m) off center, and one of the rays was wearing a hole in the right arm when the statue moved in the wind. The armature structure was badly corroded, and about two percent of the exterior plates needed to be replaced.


Although problems with the armature had been recognized as early as 1936, when cast iron replacements for some of the bars had been installed, much of the corrosion had been hidden by layers of paint applied over the years.

In May 1982, President Ronald Reagan announced the formation of the Statue of Liberty–Ellis Island Centennial Commission, led by Chrysler Corporation chair Lee Iacocca, to raise the funds needed to complete the work. 

Through its fundraising arm, the Statue of Liberty–Ellis Island Foundation, Inc., the group raised more than $350 million in donations for the renovations of both the Statue of Liberty and Ellis Island. The Statue of Liberty was one of the earliest beneficiaries of a cause marketing campaign.

A 1983 promotion advertised that for each purchase made with an American Express card, the company would contribute one cent to the renovation of the statue. The campaign generated contributions of $1.7 million to the restoration project.

In 1984, the statue was closed to the public for the duration of the renovation. Workers erected the world's largest free-standing scaffold, which obscured the statue from view. Liquid nitrogen was used to remove layers of paint that had been applied to the interior of the copper skin over decades, leaving two layers of coal tar, originally applied to plug leaks and prevent corrosion. 

Blasting with baking soda powder removed the tar without further damaging the copper. The restorers' work was hampered by the asbestos-based substance that Bartholdi had used—ineffectively, as inspections showed—to prevent galvanic corrosion.

Workers within the statue had to wear protective gear, dubbed "Moon suits", with self-contained breathing circuits. Larger holes in the copper skin were repaired, and new copper was added where necessary. 

The replacement skin was taken from a copper rooftop at Bell Labs, which had a patina that closely resembled the statue's; in exchange, the laboratory was provided some of the old copper skin for testing. The torch, found to have been leaking water since the 1916 alterations, was replaced with an exact replica of Bartholdi's unaltered torch.

Consideration was given to replacing the arm and shoulder; the National Park Service insisted that they be repaired instead. The original torch was removed and replaced in 1986 with the current one, whose flame is covered in 24-karat gold. The torch reflects the Sun's rays in daytime and is lighted by floodlights at night.

The entire puddled iron armature designed by Gustave Eiffel was replaced. Low-carbon corrosion-resistant stainless steel bars that now hold the staples next to the skin are made of Ferralium, an alloy that bends slightly and returns to its original shape as the statue moves. 

To prevent the ray and arm making contact, the ray was realigned by several degrees. The lighting was again replaced—night-time illumination subsequently came from metal-halide lamps that send beams of light to particular parts of the pedestal or statue, showing off various details. 

Access to the pedestal, which had been through a nondescript entrance built in the 1960s, was renovated to create a wide opening framed by a set of monumental bronze doors with designs symbolic of the renovation. A modern elevator was installed, allowing handicapped access to the observation area of the pedestal. An emergency elevator was installed within the statue, reaching up to the level of the shoulder.

July 3–6, 1986, was designated "Liberty Weekend", marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance.

July 4 saw a reprise of Operation Sail, and the statue was reopened to the public on July 5. In Reagan's dedication speech, he stated, "We are the keepers of the flame of liberty; we hold it high for the world to see."

Closures and reopenings (2001–present)
​
​Immediately following the September 11 attacks, the statue and Liberty Island were closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004, but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency.

The Park Service adhered to that position through the remainder of the Bush administration. New York Congressman Anthony Weiner made the statue's reopening a personal crusade. 

On May 17, 2009, President Barack Obama's Secretary of the Interior, Ken Salazar, announced that as a "special gift" to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.

The statue, including the pedestal and base, closed on October 29, 2011, for installation of new elevators and staircases and to bring other facilities, such as restrooms, up to code.

The statue was reopened on October 28, 2012, but then closed again a day later in advance of Hurricane Sandy. Although the storm did not harm the statue, it destroyed some of the infrastructure on both Liberty and Ellis Islands, including the dock used by the ferries that ran to Liberty and Ellis Islands.

On November 8, 2012, a Park Service spokesperson announced that both islands would remain closed for an indefinite period for repairs to be done. Since Liberty Island had no electricity, a generator was installed to power temporary floodlights to illuminate the statue at night.

The superintendent of Statue of Liberty National Monument, David Luchsinger—whose home on the island was severely damaged—stated that it would be "optimistically ... months" before the island was reopened to the public. The statue and Liberty Island reopened to the public on July 4, 2013. Ellis Island remained closed for repairs for several more months but reopened in late October 2013.

The Statue of Liberty has also been closed due to government shutdowns and protests, as well as for disease pandemics. During the October 2013 United States federal government shutdown, Liberty Island and other federally funded sites were closed. 

In addition, Liberty Island was briefly closed on July 4, 2018, after a woman protesting against American immigration policy climbed onto the statue. However, the island remained open during the 2018–19 United States federal government shutdown because the Statue of Liberty–Ellis Island Foundation had donated funds. It closed beginning on March 16, 2020, due to the COVID-19 pandemic. 

On July 20, 2020, the Statue of Liberty reopened partially under New York City's Phase IV guidelines, with Ellis Island remaining closed. The crown did not reopen until October 2022.

On October 7, 2016, construction started on the new Statue of Liberty Museum on Liberty Island. The new $70 million, 26,000-square-foot (2,400 m2) museum may be visited by all who come to the island, as opposed to the museum in the pedestal, which only 20% of the island's visitors had access to. 

The new museum, designed by FXFOWLE Architects, is integrated with the surrounding parkland. Diane von Fürstenberg headed the fundraising for the museum, and the project received over $40 million in fundraising by groundbreaking. The museum opened on May 16, 2019.

Access and attributes: Location and access
​​
The statue is situated in Upper New York Bay on Liberty Island south of Ellis Island, which together comprise the Statue of Liberty National Monument. Both islands were ceded by New York to the federal government in 1800. 

As agreed in an 1834 compact between New York and New Jersey that set the state border at the bay's midpoint, the original islands remain New York territory though located on the New Jersey side of the state line. Liberty Island is one of the islands that are part of the borough of Manhattan in New York. Land created by reclamation added to the 2.3-acre (0.93 ha) original island at Ellis Island is New Jersey territory.

No charge is made for entrance to the national monument, but there is a cost for the ferry service that all visitors must use, as private boats may not dock at the island. A concession was granted in 2007 to Statue Cruises to operate the transportation and ticketing facilities, replacing Circle Line, which had operated the service since 1953. 

The ferries, which depart from Liberty State Park in Jersey City and the Battery in Lower Manhattan, also stop at Ellis Island when it is open to the public, making a combined trip possible. All ferry riders are subject to security screening, similar to airport procedures, prior to boarding.

Visitors intending to enter the statue's base and pedestal must obtain pedestal access for a nominal fee when purchasing their ferry ticket. Those wishing to climb the staircase within the statue to the crown must purchase a special ticket, which may be reserved up to a year in advance.

A total of 240 people per day can ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening. 

​The balcony around the torch was closed to the public following the munitions explosion on Black Tom Island in 1916. The balcony can however be seen live via webcam.

​Inscriptions, plaques, and dedications:
​
There are several plaques and dedicatory tablets on or near the Statue of Liberty.
  • A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie (Cie is the French abbreviation analogous to Co.).
  • A presentation tablet, also bearing Bartholdi's name, declares the statue is a gift from the people of the Republic of France that honors "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."
  • A tablet placed by the American Committee commemorates the fundraising done to build the pedestal.
  • The cornerstone bears a plaque placed by the Freemasons.
  • In 1903, a bronze tablet that bears the text of Emma Lazarus's sonnet, "The New Colossus" (1883), was presented by friends of the poet. Until the 1986 renovation, it was mounted inside the pedestal; later, it resided in the Statue of Liberty Museum, in the base.
  • "The New Colossus" tablet is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet's life.

A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty. Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Eiffel, and Laboulaye—are depicted. They are the work of Maryland sculptor Phillip Ratner.

Historical designations:

President Calvin Coolidge officially designated the Statue of Liberty as part of the Statue of Liberty National Monument in 1924. The monument was expanded to also include Ellis Island in 1965. The following year, the Statue of Liberty and Ellis Island were jointly added to the National Register of Historic Places, and the statue individually in 2017. 

On the sub-national level, the Statue of Liberty National Monument was added to the New Jersey Register of Historic Places in 1971, and was made a New York City designated landmark in 1976.

In 1984, the Statue of Liberty was designated a UNESCO World Heritage Site. The UNESCO "Statement of Significance" describes the statue as a "masterpiece of the human spirit" that "endures as a highly potent symbol—inspiring contemplation, debate and protest—of ideals such as liberty, peace, human rights, abolition of slavery, democracy and opportunity."

Statue's Measurements below:
Depictions
See also: Replicas of the Statue of Liberty and Statue of Liberty in popular culture

Hundreds of replicas of the Statue of Liberty are displayed worldwide. 

A smaller version of the statue, one-fourth the height of the original, was given by the American community in Paris to that city. It now stands on the Île aux Cygnes, facing west toward her larger sister. 

A replica 30 feet (9.1 m) tall stood atop the Liberty Warehouse on West 64th Street in Manhattan for many years; it now resides at the Brooklyn Museum. 

In a patriotic tribute, the Boy Scouts of America, as part of their Strengthen the Arm of Liberty campaign in 1949–1952, donated about two hundred replicas of the statue, made of stamped copper and 100 inches (2.5 m) in height, to states and municipalities across the United States. 

Though not a true replica, the statue known as the Goddess of Democracy temporarily erected during the Tiananmen Square protests of 1989 was similarly inspired by French democratic traditions—the sculptors took care to avoid a direct imitation of the Statue of Liberty. 

Among other recreations of New York City structures, a replica of the statue is part of the exterior of the New York-New York Hotel and Casino in Las Vegas.

As an American icon, the Statue of Liberty has been depicted on the country's coinage and stamps. It appeared on commemorative coins issued to mark its 1986 centennial, and on New York's 2001 entry in the state quarters series. An image of the statue was chosen for the American Eagle platinum bullion coins in 1997, and it was placed on the reverse, or tails, side of the Presidential Dollar series of circulating coins. 

Two images of the statue's torch appear on the current ten-dollar bill. The statue's intended photographic depiction on a 2010 forever stamp proved instead to be of the replica at the Las Vegas casino.

Depictions of the statue have been used by many regional institutions.

Between 1986 and 2000, New York State issued license plates with an outline of the statue. 

The Women's National Basketball Association's New York Liberty use both the statue's name and its image in their logo, in which the torch's flame doubles as a basketball. 

The New York Rangers of the National Hockey League depicted the statue's head on their third jersey, beginning in 1997. 

The National Collegiate Athletic Association's 1996 Men's Basketball Final Four, played at New Jersey's Meadowlands Sports Complex, featured the statue in its logo.

The Libertarian Party of the United States uses the statue in its emblem.

The statue is a frequent subject in popular culture. In music, it has been evoked to indicate support for American policies, as in Toby Keith's 2002 song "Courtesy of the Red, White and Blue (The Angry American)", and in opposition, appearing on the cover of the Dead Kennedys' album Bedtime for Democracy, which protested the Reagan administration.

In film, the torch is the setting for the climax of director Alfred Hitchcock's 1942 movie Saboteur. The statue makes one of its most famous cinematic appearances in the 1968 picture Planet of the Apes, in which it is seen half-buried in sand. 

It is knocked over in the science-fiction film Independence Day  and in Cloverfield the head is ripped off. 

In Jack Finney's 1970 time-travel novel Time and Again, the right arm of the statue, on display in the early 1880s in Madison Square Park, plays a crucial role. 

Robert Holdstock, consulting editor of The Encyclopedia of Science Fiction, wondered in 1979: "​Where would science fiction be without the Statue of Liberty? For decades it has towered or crumbled above the wastelands of deserted Earth—giants have uprooted it, aliens have found it curious ... the symbol of Liberty, of optimism, has become a symbol of science fiction's pessimistic view of the future".

See also:







Church Architecture, including Cathedrals and Great Churches ​Pictured below: Paris' Notre Dame Cathedral*:
  • Top Left: what the Cathedral looked like before the fire,
  • Top Right showing the damage to the Church after the fire
  • Bottom =​ Floor plan of Notre-Dame de Paris with a labeling of architectural elements referenced in this study. The upper levels above the ambulatory on either side of the nave and the apse are called the galleries .
​* -- Notre-Dame fire
Church architecture

​Church architecture refers to the architecture of buildings of churches, convents, seminaries etc. It has evolved over the two thousand years of the Christian religion, partly by innovation and partly by borrowing other architectural styles as well as responding to changing beliefs, practices and local traditions.

From the birth of Christianity to the present, the most significant objects of transformation for Christian architecture and design were the great churches of Byzantium, the Romanesque abbey churches, Gothic cathedrals and Renaissance basilicas with its emphasis on harmony.

These large, often ornate and architecturally prestigious buildings were dominant features of the towns and countryside in which they stood. However, far more numerous were the parish churches in Christendom, the focus of Christian devotion in every town and village.

While a few are counted as sublime works of architecture to equal the great cathedrals and churches, the majority developed along simpler lines, showing great regional diversity and often demonstrating local vernacular technology and decoration.

Buildings were at first from those originally intended for other purposes but, with the rise of distinctively ecclesiastical architecture, church buildings came to influence secular ones which have often imitated religious architecture. In the 20th century, the use of new materials, such as steel and concrete, has had an effect upon the design of churches.

The history of church architecture divides itself into periods, and into countries or regions and by religious affiliation. The matter is complicated by the fact that buildings put up for one purpose may have been re-used for another, that new building techniques may permit changes in style and size, that changes in liturgical practice may result in the alteration of existing buildings and that a building built by one religious group may be used by a successor group with different purposes.

Origins and development of the church building:

The simplest church building comprises a single meeting space, built of locally available material and using the same skills of construction as the local domestic buildings. Such churches are generally rectangular, but in African countries where circular dwellings are the norm, vernacular churches may be circular as well.

A simple church may be built of mud brick, wattle and daub, split logs or rubble. It may be roofed with thatch, shingles, corrugated iron or banana leaves.

However, church congregations, from the 4th century onwards, have sought to construct church buildings that were both permanent and aesthetically pleasing. This had led to a tradition in which congregations and local leaders have invested time, money and personal prestige into the building and decoration of churches.

Within any parish, the local church is often the oldest building and is larger than any pre-19th-century structure except perhaps a barn. The church is often built of the most durable material available, often dressed stone or brick. The requirements of liturgy have generally demanded that the church should extend beyond a single meeting room to two main spaces, one for the congregation and one in which the priest performs the rituals of the Mass.

​To the two-room structure is often added aisles, a tower, chapels, and vestries and sometimes transepts and mortuary chapels. The additional chambers may be part of the original plan, but in the case of a great many old churches, the building has been extended piecemeal, its various parts testifying to its long architectural history.

Click on any of the following blue hyperlinks for more about Church Architecture: ___________________________________________________________________________

​Architecture of cathedrals and great churches

The architecture of cathedrals and great churches is characterised by the buildings' large scale and follows one of several branching traditions of form, function and style that derive ultimately from the Early Christian architectural traditions established in Late Antiquity during the Christianisation of the Roman Empire.

Cathedrals, collegiate churches, and monastic churches like those of abbeys and priories, often have certain complex structural forms that are found less often in parish churches.

They also tend to display a higher level of contemporary architectural style and the work of accomplished craftsmen, and occupy a status both ecclesiastical and social that an ordinary parish church rarely has.

Such churches are generally among the finest buildings locally and a source of regional pride. Many are among the world's most renowned works of architecture. These include: 
The earliest large churches date from Late Antiquity. As Christianity and the construction of churches spread across the world, their manner of building was dependent upon local materials and local techniques. Different styles of architecture developed and their fashion spread, carried by the establishment of monastic orders, by the posting of bishops from one region to another and by the travelling of master stonemasons who served as architects.

The successive styles of the great church buildings of Europe are known as Early Christian, Byzantine, Romanesque, Gothic, Renaissance, Baroque, Rococo, Neoclassical and various Revival styles of the late 18th to early 20th centuries, and then Modern.

Underlying each of the academic styles are the regional characteristics. Some of these characteristics are so typical of a particular country or region that they appear, regardless of style, in the architecture of churches designed many centuries apart.

Function:
​
​Among the world's largest and most architecturally significant churches, many were built to serve as cathedrals or abbey churches. The categories below are not exclusive. A church can be an abbey church and serve as a cathedral.

Some Protestant parish churches like Ulm Minster have never served as any of these; since the Reformation many Western Christian denominations dispensed with the episcopate altogether and medieval churches lost, gained, or lost again their cathedral status, like St Giles', Edinburgh or St Magnus', Kirkwall.

Some great churches of the Middle Ages, such as Westminster Abbey, are former abbeys; others like Ripon Cathedral and Bath Abbey were built as monastic churches and became cathedrals or parish churches in recent centuries; others again were built as parish churches and subsequently raised to cathedrals, like Southwark Cathedral.

Some significant churches are termed "temples" or "oratories". Among the Roman Catholic churches, many have been raised to the status of "basilica" since the 18th century.

Cathedral:
Main article: Cathedral

A cathedral has a specific ecclesiastical role and administrative purpose as the seat of a bishop. The cathedral (Latin: ecclesia cathedralis, lit. 'church of the cathedra') takes its name from the cathedra, 'seat' of the bishop, known as the episcopal throne. The word cathedral is sometimes mistakenly applied as a generic term for any very large and imposing church.

The role of bishop as an administrator of local clergy came into being in the 1st century. It was two hundred years before the first cathedral building was constructed in Rome.

With the legalizing of Christianity in 313 by the Emperor Constantine I, churches were built rapidly. Five very large churches were founded in Rome and, though much altered or rebuilt, still exist today, including the cathedral church of Rome, St John on the Lateran Hill and the papal St Peter's Basilica on the Vatican Hill, now the Vatican City.

The architectural form which cathedrals took was largely dependent upon their ritual function as the seat of a bishop.

Cathedrals are places where, in common with other Christian churches, the Eucharist is celebrated, the Bible is read, the liturgy is said or sung, prayers are offered and sermons are preached.

But in a cathedral, among denominations with episcopalian church governance, these things are done with a greater amount of elaboration, pageantry and procession than in lesser churches. This elaboration is particularly present during important liturgical rites performed by a bishop, such as confirmation and ordination.

In areas with a state religion or an established church a cathedral is often the site of rituals associated with local or national government, the bishops performing the tasks of all sorts from the induction of a mayor to the coronation of a monarch. Some of these tasks are apparent in the form and fittings of particular cathedrals.

Cathedrals are not always large buildings. It might be as small as Newport Cathedral, a late medieval parish church declared a cathedral in 1949. Frequently, the cathedral, along with some of the abbey churches, was the largest building in any region.

There were a number of reasons for this:
​
  • The cathedral was created to the glory of God. It was seen as appropriate that it should be as grand and as beautiful as wealth and skill could make it.
  • As the seat of a bishop, the cathedral was the location for certain liturgical rites, such as the ordination of priests, which brought together large numbers of clergy and people.
  • It functioned as an ecclesiastical and social meeting-place for many people, not just those of the town in which it stood, but also, on occasions, for the entire region.
  • The cathedral often had its origins in a monastic foundation and was a place of worship for members of a holy order who said the mass privately at a number of small chapels within the cathedral.
  • The cathedral often became a place of worship and burial for wealthy local patrons. These patrons often endowed the cathedrals with money for successive enlargements and building programs.
  • Cathedrals are also traditionally places of pilgrimage, to which people travel from afar to celebrate certain important feast days or to visit the shrine associated with a particular saint. An extended eastern end is often found at cathedrals where the remains of a saint are interred behind the High Altar.
​Collegiate churches:
Main article: Collegiate church

Monastic churches
Main articles: Monastery, Abbey, and Priory

An abbey church is one that is, or was in the past, the church of a monastic order. Likewise a friary church is the church of an order of friars.

These orders include: ​ ​
Many churches of abbey foundation, are or previously were, part of a monastic complex that includes dormitories, refectory, cloisters, library, chapter house and other such buildings.​In many parts of the world, abbey churches frequently served the local community as well as the monastic community.

In regions such as the British Isles where the monastic communities were dissolved, appropriated, secularized, or otherwise suppressed, the monastic churches often continued to serve as a parish church.

In many areas of Asia and South America, the monasteries had the earliest established churches, with the monastic communities acting initially as missionaries to, and colonists of, indigenous people.

Well-known abbey churches include
Basilica:
Main article: Basilicas in the Catholic Church

In the Roman Catholic ecclesiastical sense, a "basilica" is a title awarded by the pope, head of the Catholic Church, and recipient churches are accordingly afforded certain privileges. A building that is designated as a basilica might be a cathedral, a collegiate or monastic church, a parish church, or a shrine.

The four so-called "Major Basilicas" are four churches of Rome of 4th century foundation:
There are more than 1,500 churches in the world which are designated as "Minor Basilicas". The reason for such a designation is often that the church is a prominent pilgrimage site and contains the celebrated relics of a saint, or another relic, such as a supposed fragment of the True Cross.

These churches are often large and of considerable architectural significance. They include
Origins and development of the church building:
Main article: Church architecture
​
Click on any of the following blue hyperlinks for more about Architecture of cathedrals and great churches:







Computer-aided Architectural Design and Engineering, including a Comparison of CAD software Pictured below: Behind MIT's New Advances in Computer-Aided Design for Manufacturing Summer Course | Professional Education
Computer-aided architectural design

​Computer-aided architectural design (CAAD) software programs are the repository of accurate and comprehensive records of buildings and are used by architects and architectural companies for architectural design and architectural engineering. As the latter often involve floor plan designs CAAD software greatly simplifies this task.

The first program was created back in the 1960s to increase architects' productivity, which at the time was held back by manual drawing of blueprints.

Computer-aided design also known as CAD was originally the type of program that architects used, but since CAD could not offer all the tools that architects needed to complete a project, CAAD developed as a distinct class of software.

Overview:

All CAD and CAAD systems employ a database with geometric and other properties of objects; they all have some kind of graphic user interface to manipulate a visual representation rather than the database; and they are all more or less concerned with assembling designs from standard and non-standard pieces.

Currently, the main distinction which causes one to speak of CAAD rather than CAD lies in the domain knowledge (architecture-specific objects, techniques, data, and process support) embedded in the system. A CAAD system differs from other CAD systems in two respects:
  • It has an explicit object database of building parts and construction knowledge.
  • It explicitly supports the creation of architectural objects.

In a more general sense, CAAD also refers to the use of any computational technique in the field of architectural design other than by means of architecture-specific software. For example, software which is specifically developed for the computer animation industry (e.g. Maya and 3DStudio Max), is also used in architectural design.

These programs can produce photo realistic 3d renders and animations. Nowadays real-time rendering is being popular thanks to the developments in graphic cards. The exact distinction of what properly belongs to CAAD is not always clear.

Specialized software, for example for calculating structures by means of the finite element method, is used in architectural design and in that sense may fall under CAAD. On the other hand, such software is seldom used to create new designs.

In 1974 Caad became a current word and was a common topic of commercial modernization.

Three-dimensional objects:

CAAD has two types of structures in its program. The first system is surface structure which provides a graphics medium to represent three-dimensional objects using two-dimensional representations. Also algorithms that allow the generation of patterns and their analysis using programmed criteria, and data banks that store information about the problem at hand and the standards and regulations that applies to it.

The second system is deep structure which means that the operations performed by the computer have natural limitations. Computer hardware and machine languages that are supported by these make it easy to perform arithmetical operations quickly and accurately.

Also an almost illogical number of layers of symbolic processing can be built enabling the functionalities that are found at the surface.

Advantages:

Another advantage to CAAD is the two way mapping of activities and functionalities. The two instances of mapping are indicated to be between the surface structures and the deep structures.

These mappings are abstractions that are introduced in order to discuss the process of design and deployment of CAAD systems. In designing the systems the system developers usually consider surface structures.

A one-to-one mapping is the typical statement, which is to develop a computer based functionality that maps as closely as possible into a corresponding manual design activity, for example, drafting of stairs, checking spatial conflict between building systems, and generating perspectives from orthogonal views.

The architectural design processes tend to integrate models isolated so far. Many different kinds of expert knowledge, tools, visualization techniques, and media are to be combined.

The design process covers the complete life cycle of the building. The areas that are covered are construction, operations, reorganization, as well as destruction. Considering the shared use of digital design tools and the exchange of information and knowledge between designers and across different projects, we speak of a design continuum.

An architect's work involves mostly visually represented data. Problems are often outlined and dealt with in a graphical approach. Only this form of expression serves as a basis for work and discussion. Therefore, the designer should have maximum visual control over the processes taking place within the design continuum.

Further questions occur about navigation, associative information access, programming and communication within very large data sets.

See also: ___________________________________________________________________________

Computer-aided architectural engineering

​Computer-aided architectural engineering (CAAE) is the use of information technology for architectural engineering, in tasks such as the analysis, simulation, design, manufacture, planning, diagnosis and repair of architectural structures. CAAE is a subclass of computer-aided engineering.

The first Computer-aided architectural design was written by the 1960s. It helped architectures very much that they do not need to draw blueprints. Computer-aided design also known as CAD was the first type of program to help architectures but since it did not have all the features, Computer-aided architectural engineering created as a specific software with all the tools for design.

Overview:

All CAAD and CAAE systems use a set of data with geometric and other aspects of an abject; they all use information technology to assembling design from standard or non-standard pieces.

For example software like computer animation is what is made in CAAE field. All the blue prints around us is made by CAAE or CAAD software.

Degree:

Getting a degree in computer-aided architectural engineering can qualify one for higher-level positions. This specialization is for students interested in having careers in architectural engineering and drafting.a CAAE can have jobs in many areas such as: 
Advantages:

An advantages to CAAE is to develop the two-way mapping software of subject. The two dimension mapping are set to be between the surface structure (TM1) and the deep structure (TM2).

In designing the systems, system designers usually pay attention to TM1. The important statement here is a one-to-one mapping, which is to create a computer functionality that maps as close as possible into a resulted manual design project. An engineer's works mostly involves visually observe data and represent them.

Problems are usually outlined and dealt with in graphical result. Therefore, the designer should have a lot control over the processes happens within the design.








Sustainable Architecture*
* -- NOTE: This topic also applies to the Environment web page.

Pictured below: Sustainable Design, CaSA Architects
Creating places that belong, places that people respond to, places that people want to keep, is a big part of designing and building sustainably. A truly sustainable architecture is one that endures independently of changing time and fashion.
​Sustainable architecture is architecture that seeks to minimize the negative environmental impact of buildings through improved efficiency and moderation in the use of materials, energy, development space and the ecosystem at large. Sustainable architecture uses a conscious approach to energy and ecological conservation in the design of the built environment.

The idea of sustainability, or ecological design, is to ensure that use of presently available resources does not end up having detrimental effects to a future society's well-being or making it impossible to obtain resources for other applications in the long run.

Background

​Shift from narrow to broader approach:

The term "sustainability" in relation to architecture has so far been mostly considered through the lens of building technology and its transformations.

Going beyond the technical sphere of "green design", invention and expertise, some scholars are starting to position architecture within a much broader cultural framework of the human interrelationship with nature. Adopting this framework allows tracing a rich history of cultural debates about humanity's relationship to nature and the environment, from the point of view of different historical and geographical contexts.

Changing pedagogues:

Critics of the reductionism of modernism often noted the abandonment of the teaching of architectural history as a causal factor. The fact that a number of the major players in the deviation from modernism were trained at Princeton University's School of Architecture, where recourse to history continued to be a part of design training in the 1940s and 1950s, was significant.

The increasing rise of interest in history had a profound impact on architectural education. History courses became more typical and regularized. With the demand for professors knowledgeable in the history of architecture, several PhD programs in schools of architecture arose in order to differentiate themselves from art history PhD programs, where architectural historians had previously trained.

In the US, MIT and Cornell were the first, created in the mid-1970s, followed by Columbia, Berkeley, and Princeton. Among the founders of new architectural history programs were Bruno Zevi at the Institute for the History of Architecture in Venice, Stanford Anderson and Henry Millon at MIT, Alexander Tzonis at the Architectural Association, Anthony Vidler at Princeton, Manfredo Tafuri at the University of Venice, Kenneth Frampton at Columbia University, and Werner Oechslin and Kurt Forster at ETH Zürich.

Sustainable energy use:
Main articles: Low-energy house and Zero-energy building

Energy efficiency over the entire life cycle of a building is the most important goal of sustainable architecture. Architects use many different passive and active techniques to reduce the energy needs of buildings and increase their ability to capture or generate their own energy. 

To minimize cost and complexity, sustainable architecture prioritizes passive systems to take advantage of building location with incorporated architectural elements, supplementing with renewable energy sources and then fossil fuel resources only as needed. Site analysis can be employed to optimize use of local environmental resources such as daylight and ambient wind for heating and ventilation.

Energy use very often depends on whether the building gets its energy on-grid, or off-grid. Off-grid buildings do not use energy provided by utility services and instead have their own independent energy production. They use on-site electricity storage while on-grid sites feed in excessive electricity back to the grid.

Heating, ventilation and cooling system efficiency:

Numerous passive architectural strategies have been developed over time. Examples of such strategies include the arrangement of rooms or the sizing and orientation of windows in a building, and the orientation of facades and streets or the ratio between building heights and street widths for urban planning.

An important and cost-effective element of an efficient heating, ventilation, and air conditioning (HVAC) system is a well-insulated building. A more efficient building requires less heat generating or dissipating power, but may require more ventilation capacity to expel polluted indoor air.

Significant amounts of energy are flushed out of buildings in the water, air and compost streams. Off the shelf, on-site energy recycling technologies can effectively recapture energy from waste hot water and stale air and transfer that energy into incoming fresh cold water or fresh air. Recapture of energy for uses other than gardening from compost leaving buildings requires centralized anaerobic digesters.

HVAC systems are powered by motors. Copper, versus other metal conductors, helps to improve the electrical energy efficiencies of motors, thereby enhancing the sustainability of electrical building components.

Site and building orientation have some major effects on a building's HVAC efficiency.
Passive solar building design allows buildings to harness the energy of the sun efficiently without the use of any active solar mechanisms such as photovoltaic cells or solar hot water panels.

Typically passive solar building designs incorporate materials with high thermal mass that retain heat effectively and strong insulation that works to prevent heat escape. Low energy designs also requires the use of solar shading, by means of awnings, blinds or shutters, to relieve the solar heat gain in summer and to reduce the need for artificial cooling.

In addition, low energy buildings typically have a very low surface area to volume ratio to minimize heat loss. This means that sprawling multi-winged building designs (often thought to look more "organic") are often avoided in favor of more centralized structures. Traditional cold climate buildings such as American colonial saltbox designs provide a good historical model for centralized heat efficiency in a small-scale building.

Windows are placed to maximize the input of heat-creating light while minimizing the loss of heat through glass, a poor insulator. In the northern hemisphere this usually involves installing a large number of south-facing windows to collect direct sun and severely restricting the number of north-facing windows.

Certain window types, such as double or triple glazed insulated windows with gas filled spaces and low emissivity (low-E) coatings, provide much better insulation than single-pane glass windows. Preventing excess solar gain by means of solar shading devices in the summer months is important to reduce cooling needs. 

Deciduous trees are often planted in front of windows to block excessive sun in summer with their leaves but allow light through in winter when their leaves fall off. Louvers or light shelves are installed to allow the sunlight in during the winter (when the sun is lower in the sky) and keep it out in the summer (when the sun is high in the sky).

They are slatted like shutters and reflect light and radiation to reduce glare on the interior space. Advanced louver systems are automated to maximize daylight and monitor the interior temperature by adjusting their tilt. Coniferous or evergreen plants are often planted to the north of buildings to shield against cold north winds.

In colder climates, heating systems are a primary focus for sustainable architecture because they are typically one of the largest single energy drains in buildings.

In warmer climates where cooling is a primary concern, passive solar designs can also be very effective. Masonry building materials with high thermal mass are very valuable for retaining the cool temperatures of night throughout the day. In addition builders often opt for sprawling single story structures in order to maximize surface area and heat loss.

Buildings are often designed to capture and channel existing winds, particularly the especially cool winds coming from nearby bodies of water. Many of these valuable strategies are employed in some way by the traditional architecture of warm regions, such as south-western mission buildings.

In climates with four seasons, an integrated energy system will increase in efficiency: when the building is well insulated, when it is sited to work with the forces of nature, when heat is recaptured (to be used immediately or stored), when the heat plant relying on fossil fuels or electricity is greater than 100% efficient, and when renewable energy is used.

Renewable energy generation:
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Solar panels:
Main article: Solar PVActive solar devices such as photovoltaic solar panels help to provide sustainable electricity for any use.

Electrical output of a solar panel is dependent on orientation, efficiency, latitude, and climate—solar gain varies even at the same latitude. Typical efficiencies for commercially available PV panels range from 4% to 28%. The low efficiency of certain photovoltaic panels can significantly affect the payback period of their installation. This low efficiency does not mean that solar panels are not a viable energy alternative. In Germany for example, Solar

Panels are commonly installed in residential home construction.

Roofs are often angled toward the sun to allow photovoltaic panels to collect at maximum efficiency. In the northern hemisphere, a true-south facing orientation maximizes yield for solar panels. If true-south is not possible, solar panels can produce adequate energy if aligned within 30° of south. However, at higher latitudes, winter energy yield will be significantly reduced for non-south orientation.

To maximize efficiency in winter, the collector can be angled above horizontal Latitude +15°. To maximize efficiency in summer, the angle should be Latitude -15°. However, for an annual maximum production, the angle of the panel above horizontal should be equal to its latitude.

Wind turbines:
Main article: Wind power

The use of undersized wind turbines in energy production in sustainable structures requires the consideration of many factors. In considering costs, small wind systems are generally more expensive than larger wind turbines relative to the amount of energy they produce.

For small wind turbines, maintenance costs can be a deciding factor at sites with marginal wind-harnessing capabilities. At low-wind sites, maintenance can consume much of a small wind turbine's revenue. Wind turbines begin operating when winds reach 8 mph, achieve energy production capacity at speeds of 32-37 mph, and shut off to avoid damage at speeds exceeding 55 mph. 

The energy potential of a wind turbine is proportional to the square of the length of its blades and to the cube of the speed at which its blades spin. Though wind turbines are available that can supplement power for a single building, because of these factors, the efficiency of the wind turbine depends much upon the wind conditions at the building site.

For these reasons, for wind turbines to be at all efficient, they must be installed at locations that are known to receive a constant amount of wind (with average wind speeds of more than 15 mph), rather than locations that receive wind sporadically. A small wind turbine can be installed on a roof. Installation issues then include the strength of the roof, vibration, and the turbulence caused by the roof ledge.

Small-scale rooftop wind turbines have been known to be able to generate power from 10% to up to 25% of the electricity required of a regular domestic household dwelling.

Turbines for residential scale use are usually between 7 feet (2 m) to 25 feet (8 m) in diameter and produce electricity at a rate of 900 watts to 10,000 watts at their tested wind speed.

The reliability of wind turbine systems is important to the success of a wind energy project. Unanticipated breakdowns can have a significant impact on a project's profitability due to the logistical and practical difficulties of replacing critical components in a wind turbine.

Uncertainty with the long-term component reliability has a direct impact on the amount of confidence associated with cost of energy (COE) estimates.

Solar water heating:
Main article: Solar thermal power

Solar water heaters, also called solar domestic hot water systems, can be a cost-effective way to generate hot water for a home. They can be used in any climate, and the fuel they use—sunshine—is free.

There are two types of solar water systems: active and passive. An active solar collector system can produce about 80 to 100 gallons of hot water per day. A passive system will have a lower capacity. Active solar water system's efficiency is 35-80% while a passive system is 30-50%, making active solar systems more powerful.

There are also two types of circulation, direct circulation systems and indirect circulation systems. Direct circulation systems loop the domestic water through the panels. They should not be used in climates with temperatures below freezing. Indirect circulation loops glycol or some other fluid through the solar panels and uses a heat exchanger to heat up the domestic water.

The two most common types of collector panels are flat-plate and evacuated-tube. The two work similarly except that evacuated tubes do not convectively lose heat, which greatly improves their efficiency (5%–25% more efficient). With these higher efficiencies, Evacuated-tube solar collectors can also produce higher-temperature space heating, and even higher temperatures for absorption cooling systems.

Electric-resistance water heaters that are common in homes today have an electrical demand around 4500 kW·h/year. With the use of solar collectors, the energy use is cut in half. The up-front cost of installing solar collectors is high, but with the annual energy savings, payback periods are relatively short.

Heat pumps:

Air source heat pumps (ASHP) can be thought of as reversible air conditioners. Like an air conditioner, an ASHP can take heat from a relatively cool space (e.g. a house at 70 °F) and dump it into a hot place (e.g. outside at 85 °F). However, unlike an air conditioner, the condenser and evaporator of an ASHP can switch roles and absorb heat from the cool outside air and dump it into a warm house.

Air-source heat pumps are inexpensive relative to other heat pump systems. As the efficiency of air-source heat pumps decline when the outdoor temperature is very cold or very hot; therefore, they are most efficiently used in temperate climates. However, contrary to earlier expectations, they have proven to be also well suited for regions with cold outdoor temperatures, such as Scandinavia or Alaska. 

In Norway, Finland and Sweden, the use of heat pumps has grown strongly over the last two decades: in 2019, there were 15–25 heat pumps per 100 inhabitants in these countries, with ASHP the dominant heat pump technology. Similarly, earlier assumptions that ASHP would only work well in fully insulated buildings have proven wrong—even old, partially insulated buildings can be retrofitted with ASHPs and thereby strongly reduce their energy demand.

Effects of EAHPs (exhaust air heat pumps) have also been studied within the aforementioned regions displaying promising results. An exhaust air heat pump uses electricity to extract heat from exhaust air leaving a building, redirecting it towards DHW (domestic hot water), space heating, and warming supply air.

In colder countries, an EAHP may be able to recover around 2 - 3 times more energy than an air-to-air exchange system. A 2022 study surrounding projected emission decreases within Sweden’s Kymenlaakso region explored the aspect of retrofitting existing apartment buildings (of varying ages) with EAHP systems. Select buildings were chosen in the cities of Kotka and Kouvola, their projected carbon emissions decreasing by about 590 tCO2 and 944 tCO2 respectively with a 7 - 13 year payoff period. 

It is, however, important to note that EAHP systems may not produce favourable results if installed in a building exhibiting incompatible exhaust output rates or electricity consumption. In this case, EAHP systems may increase energy bills without providing reasonable cuts to carbon emissions (see EAHP).

Ground-source (or geothermal) heat pumps provide an efficient alternative. The difference between the two heat pumps is that the ground-source has one of its heat exchangers placed underground—usually in a horizontal or vertical arrangement. Ground-source takes advantage of the relatively constant, mild temperatures underground, which means their efficiencies can be much greater than that of an air-source heat pump.

The in-ground heat exchanger generally needs a considerable amount of area. Designers have placed them in an open area next to the building or underneath a parking lot.

Energy Star ground-source heat pumps can be 40% to 60% more efficient than their air-source counterparts. They are also quieter and can also be applied to other functions like domestic hot water heating.

In terms of initial cost, the ground-source heat pump system costs about twice as much as a standard air-source heat pump to be installed. However, the up-front costs can be more than offset by the decrease in energy costs. The reduction in energy costs is especially apparent in areas with typically hot summers and cold winters.

Other types of heat pumps are water-source and air-earth. If the building is located near a body of water, the pond or lake could be used as a heat source or sink. Air-earth heat pumps circulate the building's air through underground ducts. With higher fan power requirements and inefficient heat transfer, Air-earth heat pumps are generally not practical for major construction.

Passive daytime radiative cooling:

Passive daytime radiative cooling harvests the extreme coldness of outer space as a renewable energy source to achieve daytime cooling. Being high in solar reflectance to reduce solar heat gain and strong in longwave infrared (LWIR) thermal radiation heat transfer, daytime radiative cooling surfaces can achieve sub-ambient cooling for indoor and outdoor spaces when applied to roofs, which can significantly lower energy demand and costs devoted to cooling.

These cooling surfaces can be applied as sky-facing panels, similar to other renewable energy sources like solar energy panels, making them for simple integration into architectural design.

A passive daytime radiative cooling roof application can double the energy savings of a white roof, and when applied as a multilayer surface to 10% of a building's roof, it can replace 35% of air conditioning used during the hottest hours of daytime. Daytime radiative cooling applications for indoor space cooling is growing with an estimated "market size of ∼$27 billion in 2025."

Sustainable building materials:
See also: Green building and Natural building

Some examples of sustainable building materials include:
  • recycled denim or blown-in fiber glass insulation,
  • sustainably harvested wood, 
  • Trass, 
  • Linoleum, 
  • sheep wool, 
  • hempcrete, 
  • roman concrete,
  • panels made from paper flakes,
  • baked earth,
  • rammed earth,
  • clay,
  • vermiculite,
  • flax linen,
  • sisal,
  • seagrass,
  • expanded clay grains,
  • coconut,
  • wood fiber plates,
  • calcium sandstone,
  • locally obtained stone and rock,
  • and bamboo, which is one of the strongest and fastest growing woody plants,
  • and non-toxic low-VOC glues and paints.

Bamboo flooring can be useful in ecological spaces since they help reduce pollution particles in the air. Vegetative cover or shield over building envelopes also helps in the same.

Paper which is fabricated or manufactured out of forest wood is supposedly hundred percent recyclable, thus it regenerates and saves almost all the forest wood that it takes during its manufacturing process. There is an underutilized potential for systematically storing carbon in the built environment.

Recycled materials:
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Sustainable architecture often incorporates the use of recycled or second hand materials, such as reclaimed lumber and recycled copper. The reduction in use of new materials creates a corresponding reduction in embodied energy (energy used in the production of materials).

Often sustainable architects attempt to retrofit old structures to serve new needs in order to avoid unnecessary development. Architectural salvage and reclaimed materials are used when appropriate. When older buildings are demolished, frequently any good wood is reclaimed, renewed, and sold as flooring. Any good dimension stone is similarly reclaimed.

Many other parts are reused as well, such as doors, windows, mantels, and hardware, thus reducing the consumption of new goods.

When new materials are employed, green designers look for materials that are rapidly replenished, such as bamboo, which can be harvested for commercial use after only six years of growth, sorghum or wheat straw, both of which are waste material that can be pressed into panels, or cork oak, in which only the outer bark is removed for use, thus preserving the tree.

When possible, building materials may be gleaned from the site itself; for example, if a new structure is being constructed in a wooded area, wood from the trees which were cut to make room for the building would be re-used as part of the building itself.

For insulation in building envelopes, more experimental materials such as “waste sheep’s wool” alongside other waste fibers originating from textile and agri-industrial operations are being researched for use as well, with recent studies suggesting the recycled insulation effective for architectural purposes.

Lower volatile organic compounds:

Low-impact building materials are used wherever feasible: for example, insulation may be made from low VOC (volatile organic compound)-emitting materials such as recycled denim or cellulose insulation, rather than the building insulation materials that may contain carcinogenic or toxic materials such as formaldehyde. To discourage insect damage, these alternate insulation materials may be treated with boric acid.

Organic or milk-based paints may be used. However, a common fallacy is that "green" materials are always better for the health of occupants or the environment. Many harmful substances (including formaldehyde, arsenic, and asbestos) are naturally occurring and are not without their histories of use with the best of intentions.

A study of emissions from materials by the State of California has shown that there are some green materials that have substantial emissions whereas some more "traditional" materials actually were lower emitters. Thus, the subject of emissions must be carefully investigated before concluding that natural materials are always the healthiest alternatives for occupants and for the Earth.

Volatile organic compounds (VOC) can be found in any indoor environment coming from a variety of different sources. VOCs have a high vapor pressure and low water solubility, and are suspected of causing sick building syndrome type symptoms. This is because many VOCs have been known to cause sensory irritation and central nervous system symptoms characteristic to sick building syndrome, indoor concentrations of VOCs are higher than in the outdoor atmosphere, and when there are many VOCs present, they can cause additive and multiplicative effects.

Green products are usually considered to contain fewer VOCs and be better for human and environmental health. A case study conducted by the Department of Civil, Architectural, and Environmental Engineering at the University of Miami that compared three green products and their non-green counterparts found that even though both the green products and the non-green counterparts both emitted levels of VOCs, the amount and intensity of the VOCs emitted from the green products were much safer and comfortable for human exposure.

Lab-grown organic materials:

Commonly used building materials such as wood require deforestation that is, without proper care, unsustainable. As of October 2022, researchers at MIT have made developments on lab-grown Zinnia elegans cells growing into specific characteristics under conditions within their control. These characteristics include the “shape, thickness, [and] stiffness,” as well as mechanical properties that can mimic wood. 

David N. Bengston from the USDA suggests that this alternative would be more efficient than traditional wood harvesting, with future developments potentially saving on transportation energy and conserve forests. However, Bengston notes that this breakthrough would change paradigms and raises new economic and environmental questions, such as timber-dependent communities′ jobs or how conservation would impact wildfires.

Materials sustainability standards:

Despite the importance of materials to overall building sustainability, quantifying and evaluating the sustainability of building materials has proven difficult. There is little coherence in the measurement and assessment of materials sustainability attributes, resulting in a landscape today that is littered with hundreds of competing, inconsistent and often imprecise eco-labels, standards and certifications.

This discord has led both to confusion among consumers and commercial purchasers and to the incorporation of inconsistent sustainability criteria in larger building certification programs such as LEED. Various proposals have been made regarding rationalization of the standardization landscape for sustainable building materials.

Sustainable design and plan:

Building--Building information modelling:

Building information modelling (BIM) is used to help enable sustainable design by allowing architects and engineers to integrate and analyze building performance. BIM services, including conceptual and topographic modelling, offer a new channel to green building with successive and immediate availability of internally coherent, and trustworthy project information.

BIM enables designers to quantify the environmental impacts of systems and materials to support the decisions needed to design sustainable buildings.

Consulting:

A sustainable building consultant may be engaged early in the design process, to forecast the sustainability implications of building materials, orientation, glazing and other physical factors, so as to identify a sustainable approach that meets the specific requirements of a project.

Norms and standards have been formalized by performance-based rating systems e.g. LEED and Energy Star for homes. They define benchmarks to be met and provide metrics and testing to meet those benchmarks. It is up to the parties involved in the project to determine the best approach to meet those standards.

As sustainable building consulting is often associated with cost premium, organisations such as Architects Assist aim for equity of access to sustainable and resident design.

Building placement:

One central and often ignored aspect of sustainable architecture is building placement. Although the ideal environmental home or office structure is often envisioned as an isolated place, this kind of placement is usually detrimental to the environment.

First, such structures often serve as the unknowing frontlines of suburban sprawl.

Second, they usually increase the energy consumption required for transportation and lead to unnecessary auto emissions. Ideally, most building should avoid suburban sprawl in favor of the kind of light urban development articulated by the New Urbanist movement. 

Careful mixed use zoning can make commercial, residential, and light industrial areas more accessible for those traveling by foot, bicycle, or public transit, as proposed in the Principles of Intelligent Urbanism.

The study of permaculture, in its holistic application, can also greatly help in proper building placement that minimizes energy consumption and works with the surroundings rather than against them, especially in rural and forested zones.

Water Usage:

Sustainable buildings look for ways to conserve water. One strategic water saving design green buildings incorporate are green roofs. Green roofs have rooftop vegetation which captures storm drainage water. This function not only collects the water for further uses but also serves as a good insulator that can aid in the urban heat island effect.

Another strategic water efficient design is treating wastewater so it can be reused again.

Urban design:

Sustainable urbanism takes actions beyond sustainable architecture, and makes a broader view for sustainability.

Typical solutions includes eco-industrial park (EIP), urban agriculture, etc. International program that are being supported includes Sustainable Urban Development Network, supported by UN-HABITAT, and Eco2 Cities, supported by the World Bank.

Concurrently, the recent movements of New Urbanism, New Classical architecture and complementary architecture promote a sustainable approach towards construction, that appreciates and develops smart growth, architectural tradition and classical design. 

This in contrast to modernist and globally uniform architecture, as well as leaning against solitary housing estates and suburban sprawl. Both trends started in the 1980s.

The Driehaus Architecture Prize is an award that recognizes efforts in New Urbanism and New Classical architecture, and is endowed with a prize money twice as high as that of the modernist Pritzker Prize.

Waste management:

Waste takes the form of spent or useless materials generated from households and businesses, construction and demolition processes, and manufacturing and agricultural industries. These materials are loosely categorized as municipal solid waste, construction and demolition (C&D) debris, and industrial or agricultural by-products. 

​Sustainable architecture focuses on the on-site use of waste management, incorporating things such as grey water systems for use on garden beds, and composting toilets to reduce sewage. These methods, when combined with on-site food waste composting and off-site recycling, can reduce a house's waste to a small amount of packaging waste.

See also:







Bridges, including a List of Types of Bridges in the U.S. along with a  List of World's Scariest Bridges (Travel & Leisure) Pictured below: Royal Gorge Bridge is highest bridge in the United States
(Courtesy of Bkthomson - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=19218575
Bridge (General)​

A bridge is a structure built to span a physical obstacle (such as a body of water, valley, road, or railway) without blocking the way underneath. It is constructed for the purpose of providing passage over the obstacle, which is usually something that is otherwise difficult or impossible to cross.

There are many different designs of bridges, each serving a particular purpose and applicable to different situations. Designs of bridges vary depending on factors such as the function of the bridge, the nature of the terrain where the bridge is constructed and anchored, the material used to make it, and the funds available to build it.

The earliest bridges were likely made with fallen trees and stepping stones.

The Neolithic people built boardwalk bridges across marshland. The Arkadiko Bridge (dating from the 13th century BC, in the Peloponnese) is one of the oldest arch bridges still in existence and use.


Etymology:

The Oxford English Dictionary traces the origin of the word bridge to an Old English word brycg, of the same meaning. 


​History:

The simplest and earliest types of bridges were stepping stones. Neolithic people also built a form of boardwalk across marshes; examples of such bridges include the Sweet Track and the Post Track in England, approximately 6,000 years old. Undoubtedly, ancient people would also have used log bridges; that is a timber bridge that fall naturally or are intentionally felled or placed across streams. Some of the first human-made bridges with significant span were probably intentionally felled trees.

Among the oldest timber bridges is the Holzbrücke Rapperswil-Hurden bridge that crossed upper Lake Zürich in Switzerland; prehistoric timber pilings discovered to the west of the Seedamm causeway date back to 1523 BC.

The first wooden footbridge there led across Lake Zürich; it was reconstructed several times through the late 2nd century AD, when the Roman Empire built a 6-metre-wide (20 ft) wooden bridge to carry transport across the lake.

Between 1358 and 1360, Rudolf IV, Duke of Austria, built a 'new' wooden bridge across the lake that was used until 1878; it was approximately 1,450 metres (4,760 ft) long and 4 metres (13 ft) wide. On April 6, 2001, a reconstruction of the original wooden footbridge was opened; it is also the longest wooden bridge in Switzerland.

The Arkadiko Bridge is one of four Mycenaean corbel arch bridges part of a former network of roads, designed to accommodate chariots, between the fort of Tiryns and town of Epidauros in the Peloponnese, in southern Greece. Dating to the Greek Bronze Age (13th century BC), it is one of the oldest arch bridges still in existence and use. Several intact arched stone bridges from the Hellenistic era can be found in the Peloponnese.

The greatest bridge builders of antiquity were the ancient Romans. The Romans built arch bridges and aqueducts that could stand in conditions that would damage or destroy earlier designs. Some stand today. 

An example is the Alcántara Bridge, built over the river Tagus, in Spain. The Romans also used cement, which reduced the variation of strength found in natural stone. One type of cement, called pozzolana, consisted of water, lime, sand, and volcanic rock. 

Brick and mortar bridges were built after the Roman era, as the technology for cement was lost (then later rediscovered).

In India, the Arthashastra treatise by Kautilya mentions the construction of dams and bridges. A Mauryan bridge near Girnar was surveyed by James Princep. The bridge was swept away during a flood, and later repaired by Puspagupta, the chief architect of emperor Chandragupta I. The use of stronger bridges using plaited bamboo and iron chain was visible in India by about the 4th century. 

A number of bridges, both for military and commercial purposes, were constructed by the Mughal administration in India.

Although large Chinese bridges of wooden construction existed at the time of the Warring States period, the oldest surviving stone bridge in China is the Zhaozhou Bridge, built from 595 to 605 AD during the Sui dynasty. This bridge is also historically significant as it is the world's oldest open-spandrel stone segmental arch bridge.

European segmental arch bridges date back to at least the Alconétar Bridge (approximately 2nd century AD), while the enormous Roman era Trajan's Bridge (105 AD) featured open-spandrel segmental arches in wooden construction.

Rope bridges, a simple type of suspension bridge, were used by the Inca civilization in the Andes mountains of South America, just prior to European colonization in the 16th century.

The Ashanti built bridges over streams and rivers. They were constructed by pounding four large forked tree trunks into the stream bed, placing beams along these forked pillars, then positioning cross-beams that were finally covered with four to six inches of dirt.
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During the 18th century, there were many innovations in the design of timber bridges by Hans Ulrich Grubenmann, Johannes Grubenmann, as well as others. The first book on bridge engineering was written by Hubert Gautier in 1716.

A major breakthrough in bridge technology came with the erection of the Iron Bridge in Shropshire, England in 1779. It used cast iron for the first time as arches to cross the river Severn. 

With the Industrial Revolution in the 19th century, truss systems of wrought iron were developed for larger bridges, but iron does not have the tensile strength to support large loads. With the advent of steel, which has a high tensile strength, much larger bridges were built, many using the ideas of Gustave Eiffel.

In Canada and the United States, numerous timber covered bridges were built in the late 1700s to the late 1800s, reminiscent of earlier designs in Germany and Switzerland. Some covered bridges were also built in Asia. 

In later years, some were partly made of stone or metal but the trusses were usually still made of wood; in the United States, there were three styles of trusses, the Queen Post, the Burr Arch and the Town Lattice. Hundreds of these structures still stand in North America.

They were brought to the attention of the general public in the 1990s by the novel, movie and play The Bridges of Madison County.

In 1927 welding pioneer Stefan Bryła designed the first welded road bridge in the world, the Maurzyce Bridge which was later built across the river Słudwia at Maurzyce near Łowicz, Poland in 1929. In 1995, the American Welding Society presented the Historic Welded Structure Award for the bridge to Poland.


Types of bridges:

Bridges can be categorized in several different ways. Common categories include the type of structural elements used, by what they carry, whether they are fixed or movable, and by the materials used.

[Your WebHost: below we are covering only bridges for motor vehicle use.]
​
Structure types:

Bridges may be classified by how the actions of tension, compression, bending, torsion and shear are distributed through their structure.

Most bridges will employ all of these to some degree, but only a few will predominate. The separation of forces and moments may be quite clear. In a suspension or cable-stayed bridge, the elements in tension are distinct in shape and placement. In other cases the forces may be distributed among a large number of members, as in a truss.
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​Beam Bridge Design:
Beam bridges are horizontal beams supported at each end by substructure units and can be either simply supported when the beams only connect across a single span, or continuous when the beams are connected across two or more spans. When there are multiple spans, the intermediate supports are known as piers.

The earliest beam bridges were simple logs that sat across streams and similar simple structures. In modern times, beam bridges can range from small, wooden beams to large, steel boxes.

The vertical force on the bridge becomes a shear and flexural load on the beam which is transferred down its length to the substructures on either side They are typically made of steel, concrete or wood. Girder bridges and plate girder bridges, usually made from steel, are types of beam bridges. Box girder bridges, made from steel, concrete, or both, are also beam bridges.

Beam bridge spans rarely exceed 250 feet (76 m) long, as the flexural stresses increase proportionally to the square of the length (and deflection increases proportionally to the 4th power of the length). However, the main span of the Rio–Niteroi Bridge, a box girder bridge, is 300 metres (980 ft).

The world's longest beam bridge is Lake Pontchartrain Causeway in southern Louisiana in the United States, at 23.83 miles (38.35 km), with individual spans of 56 feet (17 m). Beam bridges are the simplest and oldest type of bridge in use today, and are a popular type.
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Truss Bridge Design:
A truss bridge is a bridge whose load-bearing superstructure is composed of a truss. This truss is a structure of connected elements forming triangular units. The connected elements (typically straight) may be stressed from tension, compression, or sometimes both in response to dynamic loads.

Truss bridges are one of the oldest types of modern bridges. The basic types of truss bridges shown in this article have simple designs which could be easily analyzed by nineteenth and early twentieth-century engineers. A truss bridge is economical to construct owing to its efficient use of materials.
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Cantilever bridge Design:
Cantilever bridges are built using cantilevers—horizontal beams supported on only one end. Most cantilever bridges use a pair of continuous spans that extend from opposite sides of the supporting piers to meet at the center of the obstacle the bridge crosses. Cantilever bridges are constructed using much the same materials and techniques as beam bridges. The difference comes in the action of the forces through the bridge.Some cantilever bridges also have a smaller beam connecting the two cantilevers, for extra strength.

The largest cantilever bridge is the 549-metre (1,801 ft) Quebec Bridge in Quebec, Canada.
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Arch Bridge Design:
Arch bridges have abutments at each end. The weight of the bridge is thrust into the abutments at either side. The earliest known arch bridges were built by the Greeks, and include the Arkadiko Bridge.With the span of 220 metres (720 ft), the Solkan Bridge over the Soča River at Solkan in Slovenia is the second-largest stone bridge in the world and the longest railroad stone bridge.

​It was completed in 1905. Its arch, which was constructed from over 5,000 tonnes (4,900 long tons; 5,500 short tons) of stone blocks in just 18 days, is the second-largest stone arch in the world, surpassed only by the Friedensbrücke (Syratalviadukt) in Plauen, and the largest railroad stone arch.

The arch of the Friedensbrücke, which was built in the same year, has the span of 90 m (295 ft) and crosses the valley of the Syrabach River. The difference between the two is that the Solkan Bridge was built from stone blocks, whereas the Friedensbrücke was built from a mixture of crushed stone and cement mortar.

The world's largest arch bridge is the Chaotianmen Bridge over the Yangtze River with a length of 1,741 m (5,712 ft) and a span of 552 m (1,811 ft). The bridge was opened April 29, 2009, in Chongqing, China.
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Tied Arch Bridge Design:
Tied-arch bridges have an arch-shaped superstructure, but differ from conventional arch bridges. Instead of transferring the weight of the bridge and traffic loads into thrust forces into the abutments, the ends of the arches are restrained by tension in the bottom chord of the structure. They are also called bowstring arches.
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Suspension Bridge Design:
Pictured below: Verrazzano-Narrows Bridge
Suspension bridges are suspended from cables. The earliest suspension bridges were made of ropes or vines covered with pieces of bamboo. In modern bridges, the cables hang from towers that are attached to caissons or cofferdams. The caissons or cofferdams are implanted deep into the bed of the lake, river or sea.

Sub-types include:
There is also what is sometimes called a "semi-suspension" bridge, of which the Ferry Bridge in Burton-upon-Trent is the only one of its kind in Europe.The longest suspension bridge in the world is the 4,608 m (15,118 ft) 1915 Çanakkale Bridge in Turkey.
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Cable-stayed bridge Design:
Pictured: The most beautiful Bridge in the World | Norman foster, Cable stayed bridge
Design revealed for world's longest and tallest cable-stayed bridge​: 

​Work is scheduled to begin this August on the 9.7km-long Ma'anshan Yangtze River Railway and Road Bridge in Anhui Province, China. Design revealed for world's longest and tallest cable-stayed bridge.
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George Washington Bridge:
World's busiest motor vehicle bridge
​George Washington Bridge connecting New York and New Jersey: 

Pictured below:
Left: The bridge as seen from Fort Lee, New Jersey in October 2008
Right: the George Washington Bridge has upper/lower road levels.
The George Washington Bridge is a double-decked suspension bridge spanning the Hudson River, connecting Fort Lee in Bergen County, New Jersey, with Upper Manhattan in New York City.

It is named after Founding Father George Washington, the first president of the United States. The George Washington Bridge is the world's busiest motor vehicle bridge, carrying a traffic volume of over 104 million vehicles in 2019, and is the world's only suspension bridge with 14 vehicular lanes. 

It is owned by the Port Authority of New York and New Jersey, a bi-state government agency that operates infrastructure in the Port of New York and New Jersey.

The George Washington Bridge is also informally known as the GW Bridge, the GWB, the GW, or the George, and was known as the Fort Lee Bridge or Hudson River Bridge during construction.

​The George Washington Bridge measures 4,760 feet (1,450 m) long and has a main span of 3,500 feet (1,100 m). It was the longest main bridge span in the world from its 1931 opening until the Golden Gate Bridge in San Francisco opened in 1937.

Click here for more about the George Washington Bridge.

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Movable Bridge Design:
​A moveable bridge, or movable bridge, is a bridge that moves to allow passage for boats or barges. In American English, the term is synonymous with drawbridge, and the latter is the common term, but drawbridge can be limited to the narrower, historical definition used in some other forms of English, in which drawbridge refers to only a specific type of moveable bridge often found in castles.

An advantage of making bridges moveable is the lower cost, due to the absence of high piers and long approaches. The principal disadvantage is that the traffic on the bridge must be halted when it is opened for passage of traffic on the waterway. For seldom-used railroad bridges over busy channels, the bridge may be left open and then closed for train passages.

For small bridges, bridge movement may be enabled without the need for an engine. Some bridges are operated by the users, especially those with a boat, others by a bridgeman (or bridge tender); a few are remotely controlled using video-cameras and loudspeakers.

Generally, the bridges are powered by electric motors, whether operating winches, gearing, or hydraulic pistons. While moveable bridges in their entirety may be quite long, the length of the moveable portion is restricted by engineering and cost considerations to a few hundred feet.

There are often traffic lights for the road and water traffic, and moving barriers for the road traffic.

In the United States, regulations governing the operation of moveable bridges (referred to as drawbridges) – for example, hours of operation and how much advance notice must be given by water traffic – are listed in Title 33 of the Code of Federal Regulations; temporary deviations are published in the Coast Guard's Local Notice to Mariners

​Types of Moveable Bridges:
  • Double-beam drawbridge
  • Drawbridge (British English definition) – the bridge deck is hinged on one end
  • Bascule bridge – a drawbridge hinged on pins with a counterweight to facilitate raising; road or rail
    • Rolling bascule bridge – an unhinged drawbridge lifted by the rolling of a large gear segment along a horizontal rack
  • Folding bridge – a drawbridge with multiple sections that collapse together horizontally
  • Curling bridge – a drawbridge with transverse divisions between multiple sections that curl vertically
  • Fan Bridge – a drawbridge with longitudinal divisions between multiple bascule sections that rise to various angles of elevation, forming a fan arrangement.
  • Vertical-lift bridge – the bridge deck is lifted by counterweighted cables mounted on towers; road or rail
  • Table bridge – a lift bridge with the lifting mechanism mounted underneath it
  • Retractable bridge (Thrust bridge) – the bridge deck is retracted to one side
  • Submersible bridge – also called a ducking bridge, the bridge deck is lowered into the water
  • Tilt bridge – the bridge deck, which is curved and pivoted at each end, is lifted at an angle
  • Swing bridge – the bridge deck rotates around a fixed point, usually at the centre, but may resemble a gate in its operation; road or rail
  • Transporter bridge – a structure high above carries a suspended, ferry-like structure
  • Jet bridge – a passenger bridge to an airplane. One end is mobile with height, yaw, and tilt adjustments on the outboard end
  • Guthrie rolling bridge
  • Vlotbrug, a design of retractable floating bridge in the Netherlands
  • Linkspan
  • Ferry slip
  • Locks are implicitly bridges as well allowing ship traffic to flow when open and at least foot traffic on top when closed

See also:







New York City Architecture, featuring Proposed "Two skyscrapers joined by daring cantilevered ‘skybridge" and including Lists of New York City landmarks Pictured below: (L) three NYC Skyscrapers and (R) Residential Architecture
​The building form most closely associated with New York City is the skyscraper, which has shifted many commercial and residential districts from low-rise to high-rise. Surrounded mostly by water, the city has amassed one of the largest and most varied collection of skyscrapers in the world.

New York has architecturally significant buildings in a wide range of styles spanning distinct historical and cultural periods. These include the Woolworth Building (1913), an early Gothic revival skyscraper with large-scale gothic architectural detail.

The 1916 Zoning Resolution required setback in new buildings, and restricted towers to a percentage of the lot size, to allow sunlight to reach the streets below. 

The Art Deco design of the Chrysler Building (1930) and Empire State Building (1931), with their tapered tops and steel spires, reflected the zoning requirements. The Chrysler Building is considered by many historians and architects to be one of New York's finest, with its distinctive ornamentation such as V-shaped lighting inserts capped by a steel spire at the tower's crown. 

Early influential examples of the International Style in the United States are 330 West 42nd Street (1931) and the Seagram Building (1958). The Condé Nast Building (2000) is an important example of green design in American skyscrapers.

The character of New York's large residential districts is often defined by the elegant brownstone rowhouses, townhouses, and tenements that were built during a period of rapid expansion from 1870 to 1930. In contrast, New York City also has neighborhoods that are less densely populated and feature free-standing dwellings.

In the outer boroughs, large single-family homes are common in various architectural styles such as Tudor Revival and Victorian. Split two-family homes are also widely available across the outer boroughs, for example in the Flushing area.

Stone and brick became the city's building materials of choice after the construction of wood-frame houses was limited in the aftermath of the Great Fire of 1835. Unlike Paris, which for centuries was built from its own limestone bedrock, New York has always drawn its building stone from a far-flung network of quarries and its stone buildings have a variety of textures and hues. 

A distinctive feature of many of the city's buildings is the presence of wooden roof-mounted water towers. In the 19th century, the city required their installation on buildings higher than six stories to prevent the need for excessively high water pressures at lower elevations, which could burst municipal water pipes. 

Garden apartments became popular during the 1920s in outlying areas, including Jackson Heights in Queens, which became more accessible with expansion of the subway.

Concentrations of buildings:

New York has two main concentrations of high-rise buildings: Midtown Manhattan and Lower Manhattan, each with its own uniquely recognizable skyline.
In the first decade of the 21st century, Lower Manhattan saw reconstruction, which included One World Trade Center within the new World Trade Center complex. The Downtown skyline received new designs from such architects as Santiago Calatrava and Frank Gehry.

In 2010, a 749-foot (228 m), 43-story tower named 200 West Street was built for Goldman Sachs across the street from the World Trade Center site.

New York City has a long history of tall buildings. It has been home to 10 buildings that have held the world's tallest fully habitable building title at some point in history, although half have since been demolished.

The first building to bring the world's tallest title to New York was the New York World Building, in 1890. Later, New York City was home to the world's tallest building for 75 continuous years, starting with the Park Row Building in 1899 and ending with One World Trade Center upon completion of the Sears Tower in 1974.

The 1899 Park Row Building, one of the world's earliest skyscrapers, is still standing.
The high-rise buildings of Brooklyn constitute a third, much smaller skyline. Downtown Brooklyn is also experiencing an extensive building boom, with new high rise luxury residential towers, commercial space and a new arena in the planning stages.

The building boom in Brooklyn has had a great deal of opposition from local civic and environmental groups which contend that Brooklyn needs to maintain its human scale. The borough of Queens has also been developing its own skyline in recent years with One Court Square (formerly the Citigroup Building, currently the tallest building in NYC outside Manhattan), and the Queens West development of several residential towers along the East River waterfront.

The 1916 Zoning Resolution required setback in new buildings, and restricted towers to a percentage of the lot size, to allow sunlight to reach the streets below.

Click on any of the following blue hyperlinks for more about New York City Architecture: ___________________________________________________________________________

New York Architecture (Continued)

Two skyscrapers joined by daring cantilevered ‘skybridge’ to soar over New York by CNN 2/15/2024

The Freedom Plaza proposal features four high-rises, a museum and acres of public space beside the East River.  (Bjarke Ingels Group)
A pair of skyscrapers connected by a cantilevered “skybridge” and a rooftop infinity pool is set to join the New York City skyline, as developers unveiled a proposal for a new megaproject just south of the United Nations headquarters on Monday.

Designed by architecture firm Bjarke Ingels Group (BIG), the 615-foot-tall towers will contain two hotels, while a soaring lobby across the top will house restaurants, bars, an art gallery a glass-floored (and glass-ceilinged) viewing platform and — should a license be granted — a subterranean casino.

Along with two new residential towers, the skyscrapers will flank the newly unveiled Freedom Plaza development, a three-block-long public park with retail spaces and a new “Museum of Freedom and Democracy.”

The Midtown Manhattan site, which overlooks the East River, is currently occupied by a large-scale art installation “Field of Light,” by British Artist Bruce Munro, that was commissioned by the charitable arm of Soloviev Group, the property developer behind the plan. But the 6.7-acre patch of prime real estate, roughly the size of Madison Square Park, has sat largely unused since the 2000s.

Pictured below: The "skybridge" connecting the two hotel towers is set to feature a 150,000-gallon rooftop infinity pool.  (Bjarke Ingels Group)
Bjarke Ingels, the Danish founder and creative director of BIG, said his firm’s design looks to extend the greenery that architects Le Corbusier, Wallace Harrison and Oscar Niemeyer created at the neighboring UN building.

“We continue to build on these architectural principles by uniting three city blocks to form a public green space reaching from 1st Avenue to the East River overlook, creating a green connection all the way to the water’s edge,” said Ingels in a press statement.

The two hotel towers are set to host the city’s first five-star Banyan Tree property, as well as a hotel run by casino operator Mohegan. A 150,000-gallon infinity pool will be built on the roof of the connecting skybridge, with BIG describing it as “one of the largest rooftop pools in North America.”

The 50- and 60-story residential towers, meanwhile, nod to the modernist New York City buildings of the 1950s and 1960s thanks to their striped glass and aluminum facades.

Measuring 550 and 650 feet tall, the two high-rises will be connected by a podium housing a food market and retail space.

Pictured below: The project's two residential towers will be connected at ground level by a podium housing a food market and retail space. 

Bjarke Ingels Group:

The project's two residential towers will be connected at ground level by a podium housing a food market and retail space. 
The development is one of several projects competing for three casino gaming licenses recently approved for downstate New York by the state’s gaming commission. But plans have faced local opposition, with some residents and officials voicing concern about the development.

Hoping to entice authorities to grant the license, the Soloviev Group has said it would designate 513, or nearly 40% of the development’s 1,325 apartments as affordable housing should the license come through.

“The revenue generated by the project’s entertainment and hospitality component will allow Freedom Plaza to deliver the affordable housing program and expansive publicly accessible green space, with many more details yet to be announced,” said Ray Pineault, CEO and President of Mohegan in a statement last year.

Americans are currently living through the toughest housing market in a generation, and New York has been one of the hardest hit locations, with rental vacancy rates down to a multi-decade low of 1.4%, according to the 2023 NYC Housing and Vacancy Survey.

The development is set to occupy a 6.7-acre plot next to the East River in Midtown Manhattan. 

Soloviev Group has also promised that an unspecified percentage of the gaming profits, starting with a minimum $5 million donation, will go to an independently run non-profit community fund.
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​Partial Listings of Unique New York City landmark Designs

Pictured below 
TOP LEFT: Guggenheim Museum; TOP RIGHT: ​Washington Square Park
Pictured above:
  • LEFT: ​​Image of the Flatiron: that  gained its name from its unusual triangular architecture and is one of my favorite buildings to photograph when they finally remove the scaffolding! The building itself was completed in 1902, and although it’s not one of the most popular landmarks in NYC to tourists, all the locals know, and appreciate it! Address: 175 5th Ave At 23rd St., New York City, NY 10010-7703
  • RIGHT: The Oculus: This aesthetic transportation hub not only welcomes those visiting the World Trade Center, but serves as a representation of New York City’s strength and resilience after 9/11. Designed by Spanish architect Santiago Calatrava, the Oculus resembles a dove leaving a child’s hands.
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The following are lists of New York City landmarks designated by the New York City Landmarks Preservation Commission:
See also:







Eiffel Tower (Paris)Pictured below: By Benh LIEU SONG - File:Tour_Eiffel_Wikimedia_Commons.jpg, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=48220385
​The Eiffel Tower  is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower from 1887 to 1889.

​Locally nicknamed "La dame de fer" (French for "Iron Lady"), it was constructed as the centerpiece of the 1889 World's Fair, and to crown the centennial anniversary of the French Revolution.

Although initially criticised by some of France's leading artists and intellectuals for its design, it has since become a global cultural icon of France and one of the most recognisable structures in the world. 

The tower received 5,889,000 visitors in 2022. The Eiffel Tower is the most visited monument with an entrance fee in the world: 6.91 million people ascended it in 2015. It was designated a monument historique in 1964, and was named part of a UNESCO World Heritage Site ("Paris, Banks of the Seine") in 1991.

The tower is 330 metres (1,083 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side.

During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest human-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930.

It was the first structure in the world to surpass both the 200-metre and 300-metre mark in height. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft).

Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct.

The tower has three levels for visitors, with restaurants on the first and second levels. The top level's upper platform is 276 m (906 ft) above the ground—the highest observation deck accessible to the public in the European Union.

Tickets can be purchased to ascend by stairs or lift to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second, making the entire ascent a 600 step climb. Although there is a staircase to the top level, it is usually accessible only by lift.

On this top, third level is a private apartment built for Gustave Eiffel's private use. He decorated it with furniture by Jean Lachaise and invited friends such as Thomas Edison.


History

Origin

The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centerpiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution.

In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". 

Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of the company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.

​The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nouguier, and Sauvestre had taken out, and the design was put on display at the Exhibition of Decorative Arts in the autumn of 1884 under the company name.

On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise
[n]ot only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.

Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. (A 300-metre tower was then considered a herculean engineering effort.)

On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.

After some debate about the exact location of the tower, a contract was signed on 8 January 1887. Eiffel signed it acting in his own capacity rather than as the representative of his company, the contract granting him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs.

Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.

A French bank, the Crédit Industriel et Commercial (CIC), helped finance the construction of the Eiffel Tower. During the period of the tower's construction, the CIC was acquiring funds from predatory loans to the National Bank of Haiti, some of which went towards the financing of the tower.

These loans were connected to an indemnity controversy that saw France force Haiti's government to financially compensate French slaveowners for lost income as a result of the Haitian Revolution, and required Haiti to pay the CIC and its partner nearly half of all taxes collected on exports, "effectively choking off the nation's primary source of income".

According to The New York Times, "[at] a time when the [CIC] was helping finance one of the world's best-known landmarks, the Eiffel Tower, as a monument to French liberty, it was choking Haiti's economy, taking much of the young nation's income back to Paris and impairing its ability to start schools, hospitals and the other building blocks of an independent country."

Artists' protest:

The proposed tower had been a subject of controversy, drawing criticism from those who did not believe it was feasible and those who objected on artistic grounds. Prior to the Eiffel Tower's construction, no structure had ever been constructed to a height of 300 m, or even 200 m for that matter, and many people believed it was impossible.

These objections were an expression of a long-standing debate in France about the relationship between architecture and engineering. It came to a head as work began at the Champ de Mars: a "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the arts, such as: 
A petition called "Artists against the Eiffel Tower" was sent to the Minister of Works and Commissioner for the Exposition, Adolphe Alphand, and it was published by Le Temps on 14 February 1887:

"We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection ... of this useless and monstrous Eiffel Tower ... To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years ... we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal."

​Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian pyramids: "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?" 

These criticisms were also dealt with by Édouard Lockroy in a letter of support written to Alphand, sardonically saying, "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell this protest is the result of collaboration of the most famous writers and poets of our time", and he explained that the protest was irrelevant since the project had been decided upon months before, and construction on the tower was already under way.

Garnier was a member of the Tower Commission that had examined the various proposals, and had raised no objection. Eiffel pointed out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"

Some of the protesters changed their minds when the tower was built; others remained unconvinced. Guy de Maupassant supposedly ate lunch in the tower's restaurant every day because it was the one place in Paris where the tower was not visible.

By 1918, it had become a symbol of Paris and of France after Guillaume Apollinaire wrote a nationalist poem in the shape of the tower (a calligram) to express his feelings about the war against Germany. Today, it is widely considered to be a remarkable piece of structural art, and is often featured in films and literature.

Construction:
​
Work on the foundations started on 28 January 1887. Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg.

The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft) to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.

Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed. 

The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 1 mm (0.04 in) and angles worked out to one second of arc. 

The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined using 2.5 million rivets.

At first, the legs were constructed as cantilevers, but about halfway to the first level construction was paused to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press. 

Multiple famous artists of that time, Charles Garnier and Alexander Dumas, thought poorly of the newly made tower. Charles Garnier thought it was a "truly tragic street lamp".

Alexander Dumas said that it was like "Odius shadow of the odious column built of rivets and iron plates extending like a black blot". There were multiple protests over the style and the reasoning of placing it in the middle of Paris. 

At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888.

Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold.

Although construction involved 300 on-site employees, due to Eiffel's safety precautions and the use of movable gangways, guardrails and screens, only one person died.

​Pictired below: in order of construction from left-to-right:
Below: Inauguration and the 1889 exposition
​
The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. 

Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent.

At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.

There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed.

The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May. Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been 1,896,987 visitors.

After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.

Pictured below: Illumination of the tower at night during the exposition; painted by Georges Garen, 1889
On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made.

At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described the collection of responses as "truly curious".

Famous visitors to the tower included:
Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition. 

Edison signed the guestbook with this message:

To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.

Subsequent events
Duration: 43 seconds.0:43
Panoramic view during ascent of the Eiffel Tower by the Lumière brothers, 1898Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The city had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for many innovations in the early 20th century, particularly radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.

For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism as the Otis lifts, although this was situated at the base of the tower.

Hydraulic pressure was provided by pressurised accumulators located near this mechanism. At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.

​On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.

In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays. 

Two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 m) to demonstrate his parachute design. 

In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.

During World War I, the Eiffel Tower's wireless station played a crucial role in intercepting enemy communications from Berlin. In 1914, French forces successfully launched a counter-attack during the Battle of the Marne after gaining critical intelligence on the German Army's movements.

In 1917, the station intercepted a coded message between Germany and Spain that referenced 'Operative H-21.' This information contributed to the arrest, conviction, and execution of Mata Hari, the famous spy accused of working for Germany.

From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time. In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power.

On 17 November, an improved 180-line transmitter was installed.

​On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal. A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station. 

A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929. 

In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed. In 1938, the decorative arcade around the first level was removed.

Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was restricted to German visitors during the occupation and the lifts were not repaired until 1946. 

In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge, but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. 

When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. 

On 25 August, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.

A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top. In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux. 

A year later, an additional lift system was installed in the north pillar.

According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67.

The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.

In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes.

At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant. The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986.

The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system. A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.

Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984.

In 1987, A. J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police. 

On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.

​For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. During the last three minutes of the year, the lights were turned on starting from the base of the tower and continuing to the top to welcome 2000 with a huge fireworks show.

An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.

The lights sparkled blue for several nights to herald the new millennium on 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.

The tower received its 200,000,000th guest on 28 November 2002. The tower has operated at its maximum capacity of about 7 million visitors per year since 2003. In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level. A glass floor was installed on the first level during the 2014 refurbishment.


​Design:

Material:

The puddle iron (wrought iron) of the Eiffel Tower weighs 7,300 tonnes, and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tonnes. 

As a demonstration of the economy of design, if the 7,300 tonnes of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tonnes per cubic metre.
 
Additionally, a cubic box surrounding the tower (324 m × 125 m × 125 m) would contain 6,200 tonnes of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.

​Wind and weather considerations

Pictured below: Lightning striking the tower in 1902
​When it was built, Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team are experienced bridge builders.

In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:
Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? ... Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be ... will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.

He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape. 

All parts of the tower were overdesigned to ensure maximum resistance to wind forces. The top half was assumed to have no gaps in the latticework. After it was completed, some have put forward various mathematical hypotheses in an attempt to explain the success of the design.

A one devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English described it as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.

The Eiffel Tower sways by up to 9 cm (3.5 in) in the wind.


Floors

Ground floor:
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The four columns of the tower each house access stairs and elevators to the first two floors, while at the south column only the elevator to the second floor restaurant is publicly accessible.

1st floor:

The first floor is publicly accessible by elevator or stairs. When originally built, the first level contained three restaurants—one French, one Russian and one Flemish—and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. Today there is the Le 58 Tour Eiffel restaurant and other facilities.

2nd floor

The second floor is publicly accessible by elevator or stairs and has a restaurant called Le Jules Verne, a gourmet restaurant with its own lift going up from the south column to the second level. This restaurant has one star in the Michelin Red Guide. It was run by the multi-Michelin star chef Alain Ducasse from 2007 to 2017. As of May 2019, it is managed by three-star chef Frédéric Anton. It owes its name to the famous science-fiction writer Jules Verne.

3rd floor

The third floor is the top floor, publicly accessible by elevator.

Originally there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.

​​From 1937 until 1981, there was a restaurant near the top of the tower. It was removed due to structural considerations; engineers had determined it was too heavy and was causing the tower to sag. This restaurant was sold to an American restaurateur and transported to New York and then New Orleans. It was rebuilt on the edge of New Orleans' Garden District as a restaurant and later event hall. Today there is a champagne bar.

Lifts

The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute.

The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.

Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts had to be the main means of ascent.
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Constructing lifts to reach the first level was done by making the legs wide enough at the bottom and so nearly straight that they could contain a straight track. A contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs. 

Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit.

At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.

​Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal, but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower.

The deadline for bids was extended, but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887. Otis were confident they would eventually be given the contract and had already started creating designs

The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves.

Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated.

The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.

The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level.

One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car travelled only half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.

Engraved names
Main article: List of the 72 names on the Eiffel Tower

Gustave Eiffel engraved on the building of the tower the names of 72 French scientists, engineers and mathematicians as a recognition of their contributions. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.

Aesthetics
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The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky. It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown". In what is expected to be a temporary change, the tower was painted gold in commemoration of the 2024 Summer Olympics in Paris.

Following the 2024 Summer Olympics held in Paris, Mayor Anne Hidalgo proposed keeping the Olympic rings on the tower permanently. The rings, which measure 95 feet (29 m) wide and 43 feet (13 m) high, were initially installed for the Games and were scheduled for removal after the Paralympics.

Hidalgo's decision faced criticism from the Eiffel family and some residents concerned about altering the protected monument. The original 30-ton rings would be replaced with lighter versions for long-term display.

The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.

​A pop-culture movie cliché is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.

​Maintenance:

Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built, with the most recent being in 2010. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.


Communications;
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The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers.

In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington County, Virginia.

The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C. Today, radio and digital television signals are transmitted from the Eiffel Tower.
​Taller structures:

The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out. The tower also lost its standing as the world's tallest tower to the Tokyo Tower in 1958 but retains its status as the tallest freestanding (non-guyed) structure in France.


Lattice towers taller than the Eiffel Tower
Further information: 

Structures in France taller than the Eiffel Tower
Further information: List of tallest structures in France

​Tourism:

Transport:

The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel. The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.

Popularity:

More than 300 million people have visited the tower since it was completed in 1889.

In 2015, there were 6.91 million visitors. The tower is the most-visited paid monument in the world. An average of 25,000 people ascend the tower every day (which can result in long queues).


Illumination copyright
Further information: Freedom of panorama § France

​The tower and its image have been in the public domain since 1993, 70 years after Eiffel's death. In June 1990, a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright.

The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992. The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright. As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use.

For this reason, it is often rare to find images or videos of the lit tower at night on stock image sites, and media outlets rarely broadcast images or videos of it.

The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve". SNTE made over €1 million from copyright fees in 2002. 

However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.

The copyright claim itself has never been tested in courts to date, according to a 2014 article in the Art Law Journal, and there has never been an attempt to track down millions of people who have posted and shared their images of the illuminated tower on the Internet worldwide.

However, the article adds that commercial uses of such images, like in a magazine, on a film poster, or on product packaging, may require prior permission.

French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented, a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.


Replicas
Main article: List of Eiffel Tower replicas
Pictured below: Replica at the Paris Las Vegas Hotel, Nevada, United States
​As one of the most famous landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers.

An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 m (519 ft) tall. 

Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower. 

Well known is the Petřín Lookout Tower in Prague too. 

There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, located in Mason, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively.

Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.

In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build.

This would be more than ten times the cost of the original (nearly 8 million in 1890 francs; around US$40 million in 2018 dollars).

See also:






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London Bridge (England) Pictured Below: The London Bridge today!
The name "London Bridge" refers to several historic crossings that have spanned the River Thames between the City of London and Southwark in central London since Roman times.

The current crossing, which opened to traffic in 1973, is a box girder bridge built from concrete and steel. It replaced a 19th-century stone-arched bridge, which in turn superseded a 600-year-old stone-built medieval structure.

In addition to the roadway, for much of its history, the broad medieval bridge supported an extensive built up area of homes and businesses, part of the City's Bridge ward, and its southern end in Southwark was guarded by a large stone City gateway.

The medieval bridge was preceded by a succession of timber bridges, the first of which was built by the Roman founders of London (Londinium) around AD 50.

The current bridge stands at the western end of the Pool of London and is positioned 30 metres (98 ft) upstream from previous alignments. The approaches to the medieval bridge were marked by the church of St Magnus-the-Martyr on the northern bank and by Southwark Cathedral on the southern shore.

Until Putney Bridge opened in 1729, London Bridge was the only road crossing of the Thames downstream of Kingston upon Thames. London Bridge has been depicted in its several forms, in art, literature, and songs, including the nursery rhyme "London Bridge Is Falling Down" (see YouTube Video above), and the epic poem The Waste Land by T. S. Eliot.

The modern bridge is owned and maintained by Bridge House Estates, an independent charity of medieval origin overseen by the City of London Corporation. It carries the A3 road, which is maintained by the Greater London Authority. The crossing also delineates an area along the southern bank of the River Thames, between London Bridge and Tower Bridge, that has been designated as a business improvement district.

​Click on any of the following blue hyperlinks for more about the London Bridge:






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Frank Lloyd Wright (Architect)Pictured below: Eight Frank Lloyd Wright Sites Inscribed on UNESCO World Heritage List (Click Here to learn more about Frank Lloyd Wright Foundation)
Pictured below: Frank Lloyd Wright (his photo below was taken in 1954):
Frank Lloyd Wright Sr. (June 8, 1867 – April 9, 1959) was an American architect, designer, writer, and educator. He designed more than 1,000 structures over a creative period of 70 years.

Wright played a key role in the architectural movements of the twentieth century, influencing architects worldwide through his works and mentoring hundreds of apprentices in his Taliesin Fellowship. 

Wright believed in designing in harmony with humanity and the environment, a philosophy he called organic architecture. This philosophy was exemplified in Fallingwater (1935), which has been called "the best all-time work of American architecture".

Pictured below: Fallingwater Architecture mentioned above:
Wright was a pioneer of what came to be called the Prairie School movement of architecture and also developed the concept of the Usonian home in Broadacre City, his vision for urban planning in the United States. He also designed original and innovative:
  • offices,
  • churches,
  • schools,
  • skyscrapers,
  • hotels,
  • museums,
  • and other commercial projects.

Wright-designed interior elements (including leaded glass windows, floors, furniture and even tableware) were integrated into these structures. He wrote several books and numerous articles and was a popular lecturer in the United States and in Europe.

Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time". In 2019, a selection of his work became a listed World Heritage Site as The 20th-Century Architecture of Frank Lloyd Wright.

Raised in rural Wisconsin, Wright studied civil engineering at the University of Wisconsin and then apprenticed in Chicago, briefly with Joseph Lyman Silsbee, and then with Louis Sullivan at Adler & Sullivan.

Wright opened his own successful Chicago practice in 1893 and established a studio in his Oak Park, Illinois home in 1898. His fame increased and his personal life sometimes made headlines:
  • leaving his first wife Catherine "Kitty" Tobin for Mamah Cheney in 1909;
  • the murder of Mamah and her children and others at his Taliesin estate by a staff member in 1914;
  • his tempestuous marriage with second wife Miriam Noel (m. 1923–1927);
  • and his courtship and marriage with Olgivanna Lazović (m. 1928–1959).

​Click on any of the following blue hyperlinks for more about Franklin Lloyd Wright:






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