SIR RICHARD ROGERS

Srikumaran Umapathy
Varun Sreenath
Vignesh Vasanth
Yashwanth TM
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 steel,
glass, and concrete, as these materials were becoming
more advanced and available in a wider variety of forms
at the time the style was developing.
ABOUT
Born 23 July 1933 in Florence, Italy.

Attended the Architectural Association School of Architecture

in London, before graduating from
Yale School of Architecture in 1962.

After working with Piano and Foster, Rogers established

the Richard Rogers Partnership in 1976.
This became Rogers Stirk Harbour + Partners in

2007. The firm maintains offices in London,

Barcelona, Madrid, and Tokyo

RIBA Gold Medal (1985)

Thomas Jefferson Medal (1999)

Stirling Prize (2006), (2009)

Minerva Medal (2007)

Pritzker Prize (2007)
WORKS

Lloyd'sbuilding

MillenniumDome

Centre Georges Pompidou

EuropeanCourtofHuman
Rights

Madrid-BarajasAirport
terminal
DESIGN PHILOSOPHY:

Environmental conception of designs.

The notion of social integration is one of the other most important points of the
Richard Rogers’ architectural concept.

According to him social problems can find solutions in the construction of

“compact cities with multiple centers”.

Richard Rogers’ architectural philosophy’s topics are legible, transparent,

lightweight, systems, urban, public and green.
DESIGN PHILOSOPHY:
Cities: are the physical framework of our society, the generator of civil values, the engine of our
economy and the heart of our culture.

Public domain: Public space between buildings influences both the built form and the civic quality of the
city, be the streets, squares or parks. A balance between the public and private domain is central to the
practice's design approach.

Legibility: The structure of buildings set the scale, form and rhythm of the architectural environment,
within which change and improvisation can take place.

Flexibility: Today's buildings are more like evolving landscapes than classical temples in which nothing
can be added and nothing can be removed.

Energy: Architects have a major role to play, given the fact hat 75 per cent of global energy
consumption is produced by buildings and transportation.
Lloyd’s Building:

The Lloyd’s Building (referred to as the inside–out

building) is the home of the insurance institution
Lloyd’s of London, and is located at 1, Lime street, in
the City of London.
The building was designed by architect Richard
Rogers and built between 1978 and 1986.
It is a leading example of radical Bowellism
architecture in which the services for the building,
such as ducts and lifts, are located on the exterior to
maximize space in the interior.

The building was innovative in having its services

such as staircases, lifts, electrical power conduits and
water pipes on the outside, leaving an uncluttered
space inside.
 Natural lighting
Stepping Form
Lloyd’s Building:
With the open spatial planning, the interior is
capable of being reconfigured on a moment to
moment basis with partition walls that can
subdivide each floor and create new and
interesting spaces.
The Lloyd’s of London building consists of three
main towers-each attached to their own service
tower-that are concentrically oriented around a 60
meter atrium at the heart of the building.
Each floor acts as a gallery overlooking the atrium;
however, only the first four floors are open to the
atrium whereas the rest are enclosed by glass
panels.

The entire building is wrapped in stainless steel

giving the building a high-tech, almost post
modern, aesthetic.
Lloyd’s Building:
Natural lighting Stepping Form The Lloyds Building,
consisting of twelve stories to the north, stepping
down to six stories to the south, sunlight penetration
thus utilized.

The atrium was a key feature in the reduction of the

loads coming from lighting. The atrium increases in
volume and surface area as it progresses toward
the south. The office levels increase as the
progress northward allowing a large surface area
for diffused light coming from the north.

A significant amount of natural lighting reaching down

into "The Room" demonstrates the success in the
design of the atrium. Furthermore, every location in
the building is located within 7 meters from a natural
source of light.
Lloyd’s Building:
Ground level plan

1.Atrium
Underwriters entrance Restaurant 1.Atrium
2.Office space
Bar Kitchen 2.Special dining room
3.Adam room
Conference room Exhibition

space library
Lloyd’s Building:
The served and servant

It was Kahn’s notion of ‘served’ and

‘servant’ spaces inspired Rogers. In the
case of Llyods, servant spaces concentrate
in towers.

Served zone

Servant towers
with incorporation
of raised flooring
system and ceiling
viod
Lloyd’s Building:

Served zone

Servant towers with incorporation of raised flooring system and

ceiling void

The services towers, 3 of them principally for fire fighting and

escape.

The other 3 for lifts, lavatories and risers, are the visual expression
of the Kahnian doctrine of‘served and servant spaces’
Lloyd’s Building:
The towers carry majors plant rooms on top

The towers form a flexible framework for the ventilation plant,

lifts, service risers and lavatories (all the 33 lavatory units were
manufactured and fitted out) attached to them.

Four towers carry major plant-rooms, with mainsservices running

vertically down the towers and connected into each level of the
building.

The largest services duct contained the air-conditioning, with

lesser duct for water, drains, power and electronics

Main services running vertically down the

towers
Lloyd’s Building: Typical detailed layout services tower

All the 33 prefabricated

Served lavatory pods were brought to
zone the site on trucks and then
hoisted into position prior to
linking up to the service riser

service risers with ducts for

water, drains, power and
electronics running vertically
down the towers and
connected into each level of
the building

Access and escape routes were provided

by means of lifts and staircases

The largest services duct contained the air-conditioning

running vertically down the towers and connected into each
level of the building.
The Millennium Dome
• Date
1996-1999
• Client
The New Millennium Experience Company
• Location
London, UK
• Construction Cost
£43 million
The Millennium Dome
The Millennium Dome
Commissioned to mark the beginning of the twenty-
first century, the Millennium Dome was intended as a
celebratory, emblematic and non-hierarchical
structure that offered a vast, flexible space. The
100,000-square-metre (1.08 million-square-foot)
adaptable space was suitable for the exhibition and
performance events as well as any number of future
uses. A high-profile project in its own right, the
building also formed a key element of the masterplan
by the Richard Rogers Partnership (RRP) for the
future development of the entire Greenwich
Peninsula.
Designed in association with engineers Buro Happold,
the key objectives for the structure were lightness,
economy and speed of construction.
The Millennium Dome
Concept:
The concept used the idea of a long span cable net
structure, suspended from twelve masts. This would
provide a huge open space which would be able to
accommodate the upcoming exhibition.
As a mark for the beginning of the new Millennium,
the Dome was intended as a celebratory, iconic, non-
hierarchical structure to celebrate this temporal
landmark. The idea of time was uppermost in the
mind of its architects; the 12 hours, the 12 months,
and the 12 constellations of the sky that measure time
are all integral to the original concept. Indeed the
structure’s 12 towers are intended to be perceived as
great arms, out-stretched in celebration.
The Millennium Dome

The ultimate inspiration for the Dome was a

great sky, a cosmos under which all events
take place – the radial lines and circles of the
high-tensile roof structure recall the celestial
reference grid of astronomical maps
throughout the ages.
The Millennium Dome

Construction
Work began on site in June 1997 with the driving
of the first of 8,000 piles for the foundations,
followed by drains and service trenches and the
concrete ring beam around the circumference of
the Dome.
Assembled on site from 1,600 tonnes of steel
sections, the masts were erected in October of
1997 and the cable net constructed and skin
attached during the first quarter of 1998.
The Millennium Dome

Construction
The fabric skin was connected to tension cables
by a team of abseiling construction workers and,
at the height of the project, shortly before
completion, there were over 1,500 people on site.
A government decision that the Dome should
have a useful life beyond the year 2000 prompted
the decision to use Teflon-coated (PTFE) fabric
instead of the cheaper PVC coated polyester
originally specified. The entire Dome enclosure,
complete with its 12 attached service cores
containing chillers, switch-rooms, generators and
sprinkler tanks, was handed over to the client for
the exhibition fit-out in autumn 1998; on time and
well under budget.
The Millennium Dome

Construction
This huge structure offers 100,000 square
metres (1,000,000 square feet) of flexible
exhibition space. It measures 365 metres
(1,200 feet) in diameter, with a circumference
of one kilometre (0.6 miles) and a maximum
height of 50 metres (165 feet), and is large
enough to accommodate 13 Royal Albert
Halls.
The Dome itself is suspended from a series of
12 100-metre- (330-feet-) tall steel masts, held
in place by more than 70 kilometres (43 miles)
of high-strength steel cable that, in turn,
support the Teflon-coated glass fibre roof.
 Date
Centre Georges Pompidou 1971-1977
• It was the first major example of an Client
'inside-out' building in architectural Centre Georges
history, with its structural system, Pompidou
mechanical systems, and circulation Location
exposed on the exterior of the building. Paris, France
Construction Cost
• The site for the Centre Pompidou is 993,000,000 French
located in the Centre of Paris, within one francs
kilometer of Notre Dame Cathedral and Gross Floor Area
the Louvre Museum. 100 000 m²
• The building was envisaged as a cross
between an information-oriented
computerized Times Square and the
British Museum, a democratic place for
all people and the centerpiece of a
regenerated quarter of the city.
 Centre Georges Pompidou
• Construction
• The realization of the project was a model for
interdisciplinary teamwork and was
undertaken via a series of independent teams
– substructure, superstructure, services,
façades, interiors, systems and the piazza
• The main structure – a permanent steel grid –
provides a stable framework into which the
moveable parts, including walls and floors,
can be inserted, dismantled and re-positioned
as necessary.
• The components and connections are of a
scale rarely seen in the construction industry
– massive steel elements were fabricated in
off-site foundries and delivered by truck to the
site during the night.
Centre Georges Pompidou
• The six-storey superstructure consists of
thirteen bays and was constructed of 16,000
tons of cast and prefabricated steel with
reinforced concrete floor sections. The two
main structural support planes comprise a
series of 800-millimetre- (31.5-inch-) diameter,
spun-steel, hollow columns, each of which
supports six gerberettes, or brackets.
• One end of each gerberette is connected to an
outer tension column, while the other supports
a steel lattice beam. The stability of the
building is achieved through diagonal bracing
in the long façades and by stabilized end
frames.
• The cladding is a curtain wall of steel and
glass, mixing glazed and solid metal panels
hung from the floor above to keep them
structurally separate from the façades, and
therefore easily changed. The line of the
cladding is kept back from the edge of the
building, allowing plenty of space for human
interaction, while lending the building an open
and transparent appearance.
Centre Georges Pompidou
Concept
• Richard Rogers and Renzo Piano’s proposal
for the Centre Pompidou – a comprehensive
cultural amenity and one of France’s grand
projets of the 1980s – was a truly flexible
container in which all interior spaces could be
rearranged at will and exterior elements could
be clipped on and off over the life span of the
building.
• Half the site was left unbuilt to make way for a
square of civic proportions which could be
used for a wide variety of community uses
including markets, exhibitions, performances,
circuses, games, buskers and so on.
• The Pompidou Centre was planned as a key
connection in the renewal of the historic heart
of the capital.
Centre Georges Pompidou
• The notion of flexibility is extended to
every component of the building, the
Centre was to act as an ever-changing
framework, a meccano kit, a climbing
frame for the old and the young.
Conceived as a well-serviced shed, the
building contains a series of uniform
spaces supported externally by a free-
standing structural frame, the whole
capable of change in plan, section and
elevation, able to absorb the unforeseen
requirements of the future.
• Finally, the top floor accommodates a
restaurant, experimental cinema and
temporary exhibitions, all of which could
be open late into the night, bringing life
and activity to the square during the
evening.
Centre Georges Pompidou
Design
• The design expresses the belief that
buildings should be able to change to
allow people the freedom to adjust their
environment as they need.
• In addition, the order, grain and scale
should be derived from the process of
making the building so that each
individual element is expressed within
the whole.
• The entrance to the building is at the
level of the street and the piazza and
relates to the life of both. Alternative
access is via the lifts, escalators and
staircases attached to the west façade.
Each of the five major floors are
uninterrupted by structure, services or
circulation.
Centre Georges Pompidou
• Movement is celebrated throughout the building,
and expressed overtly in the great diagonal stair
that runs up its outside and affords spectacular
views over Paris.
• The building was to have had no main entrance
in the traditional manner, rather a permeable
ground floor where entrance to all parts of the
building could be made. However the
fundamental arrangement of the building and its
relationship with the city remained as the
architects intended.
• These huge, open, loft-like spaces are serviced
both from above, and from the raised floor for
maximum flexibility in layout. The corridors,
ducts, fire stairs, escalators, lifts, columns and
bracing which would ordinarily interrupt the floors
are exposed on the exterior.