New Formalism

New Formalism is an architectural style that emerged in the United States during the mid 1950s and flowered in the 1960s. Buildings designed in that style exhibited many Classical elements including "strict symmetrical elevations"[1] building proportion and scale, Classical columns, highly stylized entablatures and colonnades. The style was used primarily for high-profile cultural, institutional and civic buildings. Edward Durrell Stone's New Delhi American Embassy (1954), which blended the architecture of the east with modern western concepts, is considered to be the symbolic start of New Formalism architecture.[2]

Mark Taper Forum, Los Angeles, designed by Welton Becket and Associates, 1967

Common features of the New Formalism style include:

  • Use of traditionally rich materials, such as travertine, marble, and granite or man-made materials that mimic their luxurious qualities
  • Buildings usually set on a podium
  • Designed to achieve modern monumentality
  • Embraces classical precedents, such as arches, colonnades, classical columns and entablatures
  • Smooth wall surfaces
  • Delicacy of details
  • Formal landscape; use of pools, fountains, sculpture within a central plaza[2]

Notable architectsEdit

  • Welton Becket
  • Philip Johnson
  • Edward Durell Stone
  • Minoru Yamasaki

Notable examplesEdit

Lincoln Center for the Performing Arts
World Trade Center
  • McGregor Memorial Conference Center (1958)
  • Pacific Science Center (1962)
  • Uptown Campus, University at Albany, SUNY (1964)
  • 2 Columbus Circle (1964)
  • Dorothy Chandler Pavilion (1964)
  • Ahmanson Theater (1967)
  • United States Confluence Theater - now John H. Wood Federal Courthouse (1968)
  • The Forum (1967)
  • Lincoln Center for the Performing Arts (1962/69).
  • Wilshire Colonnade (1970)
  • John F. Kennedy Center for the Performing Arts (1971)
  • World Trade Center (1973 - 2001)
  • Istiqlal Mosque, Jakarta (1978)
  • Memphis International Airport (1963)


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 Metasyntactic variable, which is released under the 
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