Paul Rudolph

Paul Rudolph, in full Paul Marvin Rudolph, (born October 23, 1918, Elkton,Kentucky,
U.S.—died August 8, 1997, New York, New York), one of the most prominent Modernist
architects in the United States after World War II. His buildings are notable for creative and
unpredictable designs that appeal strongly to the senses.
Rudolph received a bachelor’s degree in architecture from Alabama Polytechnic Institute
in 1940 and received a master’s degree at Harvard University, where he studied under Walter
Gropius. During World War II he served (1943–46) with the U.S. Navy as a supervisor of ship
construction at the Brooklyn Naval Yard.
In the late 1940s and early ’50s Rudolph practiced architecture in Sarasota, Florida, first
as a designer of private residences for the firm of Twitchell and Rudolph and later working
independently. His early designs used the glass walls and austere geometry of the International
Style but attracted attention by their ingenious construction and attractive lines. Rudolph came
to believe that a building’s form should develop from and be integrated with its interior uses
and structure, and this led him to break up a building’s masses into distinctly articulated units
that are interesting from both the outside and the inside. His early orchestrations of different
units were regular and rather symmetrical, as in the Mary Cooper Jewett Arts Center for
Wellesley College (1955–58).
From 1958 to 1965 Rudolph was chairman of the department of architecture at Yale
University. His School of Art and Architecture at Yale University (1958–63), with its complex
massing of interlocking forms and its variety of surface textures, is typical of the increasing

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freedom, imagination, and virtuosity of his mature building approach. Considered one of the
most defining designs of his career, the 10-story building featured an interior that appeared
seamless, flowing, and shot with light. (In 1969 the building was set on fire by student
protestors.) Rudolph’s Boston Government Service Center (1963) and the Endo Laboratories
in Garden City, New York (1962–64), continued a trend toward complex, irregularly
silhouetted, and dynamic structures that contain dissimilar but harmoniously combined masses,
shapes, and surfaces.
In 1965 Rudolph left Yale to practice in New York City. His practice grew in size and
volume and embraced master plans for urban communities as well as designs for campuses and
educational buildings, office buildings, and residential projects. Other important works by
Rudolph include the IBM Complex at East Fishkill, New York (1962; with Walter Kiddle),
and the Burroughs Wellcome Corporate Headquarters, Research Triangle Park, at Durham,
North Carolina (1969).
By the late 1960s, Rudolph’s reputation had begun to decline in the United States, as his
abstract Modernistic aesthetic began to be eclipsed by the growing popularity of
Postmodernism’s revival of historical styles and ornamentation. He continued, however, to find
an audience for his designs in Asia. Working from his historic brownstone on Beekman Place
in New York City, famous in design circles for the architect’s controversial Modernistic
renovation in the 1960s, Rudolph drafted monolithic high-rise projects for such cities as Hong
Kong, Singapore, and Jakarta, Indonesia.

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 TRANSLATION
Paul Rudolph, lengkap Paul Marvin Rudolph, (lahir 23 Oktober 1918, Elkton, Kentucky,
AS — meninggal 8 Agustus 1997, New York, New York), salah satu arsitek Modernis paling
terkenal di Amerika Serikat setelah Perang Dunia II . Bangunan-bangunannya terkenal karena
desainnya yang kreatif dan tak terduga yang sangat menarik bagi indera.
Rudolph menerima gelar sarjana dalam bidang arsitektur dari Alabama Polytechnic
Institute pada tahun 1940 dan menerima gelar master di Universitas Harvard, tempat ia belajar
di bawah Walter Gropius. Selama Perang Dunia II dia bertugas (1943-46) dengan Angkatan
Laut AS sebagai pengawas pembangunan kapal di Brooklyn Naval Yard.
Pada akhir 1940-an dan awal 50-an Rudolph mempraktikkan arsitektur di Sarasota,
Florida, pertama sebagai perancang tempat tinggal pribadi untuk perusahaan Twitchell dan
Rudolph dan kemudian bekerja secara mandiri. Desain awalnya menggunakan dinding kaca
dan geometri gaya internasional yang keras tetapi menarik perhatian dengan konstruksi cerdik
dan garis-garis yang menarik. Rudolph menjadi percaya bahwa bentuk bangunan harus
berkembang dari dan diintegrasikan dengan penggunaan dan struktur interiornya, dan ini
membuatnya memecah massa bangunan menjadi unit-unit yang diartikulasikan secara jelas
yang menarik baik dari luar maupun dari dalam. Orkestrasi awalnya dari unit yang berbeda
teratur dan agak simetris, seperti di Mary Cooper Jewett Arts Center untuk Wellesley College
(1955–1958).
Dari tahun 1958 hingga 1965 Rudolph adalah ketua departemen arsitektur di Universitas
Yale. Sekolah Seni dan Arsitekturnya di Universitas Yale (1958-63), dengan kumpulan
kompleks bentuk-bentuk yang saling terkait dan beragam tekstur permukaannya, merupakan
ciri khas meningkatnya kebebasan, imajinasi, dan keahlian pendekatan bangunan yang matang.
Dianggap sebagai salah satu desain paling menentukan dalam karirnya, gedung 10 lantai ini
menampilkan interior yang tampak mulus, mengalir, dan ditembak dengan cahaya. (Pada tahun
1969 gedung itu dibakar oleh demonstran mahasiswa.) Pusat Layanan Pemerintah Rudolph
Boston (1963) dan Laboratorium Endo di Garden City, New York (1962-1964), melanjutkan
tren menuju struktur yang kompleks, siluet tidak teratur, dan struktur dinamis yang berisi
massa, bentuk, dan permukaan yang tidak serasi tetapi dikombinasikan secara harmonis.
Pada 1965 Rudolph meninggalkan Yale untuk berlatih di New York City. Praktiknya
berkembang dalam ukuran dan volume dan merangkul rencana induk untuk komunitas
perkotaan serta desain untuk kampus dan gedung pendidikan, gedung perkantoran, dan proyek
perumahan. Karya penting lainnya oleh Rudolph termasuk Kompleks IBM di East Fishkill,

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New York (1962; dengan Walter Kiddle), dan Kantor Pusat Perusahaan Burroughs Wellcome,
Research Triangle Park, di Durham, North Carolina (1969).
Pada akhir 1960-an, reputasi Rudolph mulai menurun di Amerika Serikat, ketika estetika
abstrak Modernistiknya mulai dikalahkan oleh semakin populernya kebangkitan
Postmodernisme akan gaya dan ornamen bersejarah. Namun, dia melanjutkan untuk
menemukan audiens untuk desainnya di Asia. Bekerja dari brownstone bersejarahnya di
Beekman Place di New York City, terkenal di kalangan desain untuk renovasi Modernistik
arsitek yang kontroversial pada 1960-an, Rudolph merancang proyek-proyek bertingkat tinggi
monolitik untuk kota-kota seperti Hong Kong, Singapura, dan Jakarta, Indonesia.

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 Intiland Tower Surabaya Wisma Intiland

Before this building was built, the land which is now Intiland Tower was occupied by a
cinema named Cinema Bayu (2), which had been flattened before the construction of this
building began. Construction of the building began in April 1996 (3) and construction was
completed in August 1997 (2). Wisma Dharmala Sakti, as its real name, was designed by Paul
Rudolph together with a local designer from PT Gunawan Cipta Arsindo (1). Unfortunately,
Paul Rudolph died in the same month with the construction of Wisma Dharmala Sakti
Surabaya, making this building his last work in Indonesia (Rudolph also designed several
Intiland buildings which unfortunately were not built, all in Jakarta and have an equivalent
style to Intiland's Dharmala buildings other). Rudolph also would not see the results of his work
standing proudly in the City of Heroes.
In the progress of its development, the Wisma Dharmala Sakti project was shaken by
local people because its work disturbed the comfort of the surrounding community.
Fortunately, the contractor installed safety features in community homes next to the project (5)
When it was completed, the building was designed to be a building that doubles as an
office and shopping center, later it has become a pure office with a little retail (1). The
Dharmala group office was merged into Intiland Tower and the rest was leased to the public
(1). Per annual report 2017, 68 percent of office space is filled with an average rental fee of
183.5 thousand rupiah per square meter per month (4), lower than when the building was
completed, which is 75 percent when proclaimed by Construction Magazine in September 1997

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( 1), with monthly rental prices reaching Rp. 29,400 (equivalent to Rp. 204 thousand in 2018)
per square meter. (1

Architecture
This unique and sloping building design is a continuation of the tropical architectural
concept that Paul Rudolph has applied before through Wisma Dharmala Sakti in Jakarta,
although it needs to be adjusted to the building area that is messing up
The use of terraces and tilted overhangs in buildings with a slope of up to 64 degrees and
equipped with sun-shading, is intended to reduce heat entering the building without blocking
the light, so that it can reduce lamp costs and use of air conditioning, even if it has to sacrifice
office space. Finishing the building uses the majority of marble for the atrium and floor of the
building, while the exterior is not touched.
Data and facts
 Address: Jalan Panglima Sudirman 101-103 Surabaya
 Architect:
o Paul Rudolph (main architect)
o Gunawan Cipta Arsindo (architect of record)
 Contractor:
o Tatamulia Nusantara Indah (structure and architecture)
o ACSET (foundation)
 Duration of construction: April 1996 - August 1997
 Number of floors: 12
 Construction costs: IDR 49 billion (1997, equivalent to IDR 340 billion in 2018)

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 Wisma Dharmala Tower

Architect : Paul Rudolph

Year : 1982-1988
Location : Sakti, Jakarta, Indonesia
Architect : Paul Rudolph +
Built in : 1982-1988
Floors : 26
Location : Sakti, Jakarta, Indonesia

Introduction
This magnificent building was built as the headquarters of the Corporation Dharmala,
being considered one of the most successful projects of Paul Rudolph. It belongs to the late
period of his career and summarizes much of the modernist sculptural designs and ideas that
he developed through the years in many other exploratory scenarios.
The building, known as the Tower Wisma Dharmala, renamed, renamed Intiland Tower,
after the Corporation be renamed PT Dharmala Dharmala Intiland.
Location
It is located in Sudirman Jl.Jenderal 32, Sakti, Jakarta, the capital and most populous city
of Indonesia, also its political and financial center. In an area of 650 km ² is concentrated a
population of 8,489,910 people, amounting to 18.6 million in its metropolitan area.

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Concept
The profound articulation of this statuesque tower with its repetitive rhythm, its cantilevered
balconies and landscape, scale it down to get to the podium to be consistent with the urban
context of low ceilings typical of the surrounding area. Rudolph planned this open atrium,
surrounded by public spaces, as if it were “a people, with easy access and visual variety that
all people possess.”
The context and sense of place, so important in the architecture of Rudolph, has been achieved
in this project through the interaction of these spaces on the lower levels, where the occupants
can walk and move inside the building. This environment is obtained from structural and
functional requirements. All Dharmala tower is a convincing testimony of the work and time
of Paul Rudolph, reaffirming the principles of design that evolved throughout his life.
Typical plan
The 26 levels of the tower, with its square plants that turn on themselves to acquire the
cruciform shape, create alternate floors with balconies and terraces pipeline, including office
space, which let in natural light and good ventilation, concepts where Rudolph played in most
of his projects.
According to local building codes is not allowed the use of exposed concrete, so the tower is
completely covered with bright white ceramic. The resulting shape was so surprising that
Dharmala Corporation uses it as a symbol of the company.
Cantilevers
On all windows were built sloping overhangs that protect from direct sunlight in the hot
and humid climate of Jakarta, where shade and breezes are welcome.
“The traditional architecture of Indonesia offers a wide variety of solutions to the
problems of a warm and humid climate. Unifying element of this rich diversity is the ceiling.”
(Paul Rudolph)
In this context, Rudolph designed an architectural system that emulates the beauty of
traditional roofs of this area of Jakarta, incorporating deep eaves and overhangs with spandrels
of 45 º. Two twin columns belonging to the structure and cross linking the ends of these
projections, reaffirming the thought that Rudolph believed that adjacent columns create better
proportions and give strength and direction of view, a principle that is clearly demonstrated in
the facade of this building.
The visual balance of these columns, together with the horizontal spandrels creates a rich
sculptural landscape that would have allowed a taller building, according to the original design.

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 In Dharmala, these twin columns are secured in cross bases, similar to the famous
diagonal reinforcement Hong Kong & Shanghai Bank of Norman Foster.
Atrio
At ground level, the entrance area with its many balconies and walkways open levels not
only creates the feeling of space suitable for this type of building, also surrounds the atrium
providing her with a cool air circulation and shade, balconies interlacing and gateways
The effect achieved Rudolph demonstrates the ability to create public spaces and nice
shapely immersed in buildings above have a large office tower. This layered skirt not only set
the main entrance and parking, it also has six floors of offices, shops, a bank and an exhibition
area.
Patio
The curved perimeter, increasing in stages, like an inverted cone lets in natural light
which is reflected in the light-colored finishes surrounding the central courtyard space. Groups
of paired columns, on which rests the tower, rise majestically from the center of the courtyard.
Multiple levels of terraces and balconies, with their green boxes, jumps and water
channels, fountains, together with the whole environment carefully studied and created the
human scale of this elegant venue feature of late modernity.
Tower
The offices are designed in sets of three, alternating between two corners which are
parallel and diagonally. The tower looks like a sculpture that emerges from the top of the
podium, twisting and turning up at the same place every three floors, until it reaches the top, a
geometry that allows changing areas are created window balconies with planters.
Frank Lloyd Wright also twisted several plants in some of their designs, such as the
Johnson Wax Building in Racine.
Materials
Its structure has been used reinforced concrete and steel. Finishes throughout the
building, columns, walls, railings and balconies, were made with white tiles. This finish not
only protects the concrete against mold, due to wet weather in the area, being a common
solution in Indonesia, also creates a sense of cool elegance, immaculate white, to while small
scale tiles give a pleasant texture and this huge building.

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 Comments
1. Paul Rudolph’s design was so unpredictable.
2. Paul Rudolph was Walter Gropius’s student, the former head of the Bauhaus in Germany.
3. Paul Rudolph received his master’s degree from Harvard in 1947
4. In 1952, Rudolph ended his partnership with Twitchell.
5. Rudolph had created a highly dynamic and heroic monument
6. Rudolph made it clear that he was more interested in building than teaching.
7. Paul Rudolph had a dream that he will put homes in the sky.
8. Paul Rudolph desire to create psychologically stimulating spaces.

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