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CONTEMPORARY
ARCHITECTURE
Ar.Sharia Durrani
Ar.Sharia Durrani Nitte School of Architecture Planning and design

NSAPD
1.
Frank MODULE : 3
gehry
Aero space Museum
Santa Monica
Guggenhiem Museum
2
ABOUT FRANK GEHRY
▣ FRANK GEHRY WAS born in Toronto, Canada, in 1929

▣ Studied architecture at the University of Southern California.
▣ Later, he studied city Planning at Harvard University.
▣ He established his own firm in 1962 in Los Angeles.
▣ DESIGN STYLE: Gehry’s architecture has undergone a marked evolution
from the plywood and corrugated-metal vernacular of his early works to the
distorted but pristine concrete of his later works. However, the works retain a
deconstructed aesthetic that fits well with the increasingly disjointed culture to
which they belong.
▣ Most recently, Gehry has combined sensuous curving forms with complex
deconstructive massing, achieving significant new results.
3
Aerospace Museum
▣ The exterior of the building is classic Frank Gehry. It
creates a badly needed presence in the Exposition Park
mall area and achieves the mysterious, factory-like
quality that the architect apparently was seeking.
▣ His combination of the tough, minimalist forms of
industrial architecture and fantastically over-scaled
geometric solids evokes our collective romantic image of
flight and space exploration, and creates a museum
whose outside is as much a part of the exhibit as the
inside.
▣ Inside the museum, the soaring open exhibition space,
with its central, ziggurat shaped circulation core and
mult-level displays, is flooded with light from the
industrial-scale skylights and windows skillfully placed
throughout the building. The life scaled interactive
exhibits on flight are in an exciting setting.
▣ The movie theater screen is supported by a space frame
that is particularly effective in dividing the space in a very
unintrusive manner between exhibit space and theater. 4
THE GEHRY HOUSE- Santa Monica
▣ Da te :1 9 7 8
▣ Construction System: light wood frame ,corrugatedmetal, chain link
Low aqua concrete walls were used to mark the boundary

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CORRUGATED METAL walls were used TO build NEW A new roof was added to the additional spaces created
SPACES AS KITCHEN AND DINING
Chain link fencing was used to enclose the floor added. Glass cubes were placed over the kitchen and dining to throw in light
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GUGGENHEIM MUSEUM, BILBAO
The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-
American architect Frank Gehry, and located in Bilbao, Basque Country, Spain.
The museum was inaugurated on 18 October 1997 by King Juan Carlos I of Spain, with an exhibition of 250
contemporary works of art.
The interconnected buildings whose extraordinary free-form titanium-sheathed mass. It seems like a gigantic
work of abstract sculpture.
The interiors are organized around a large atrium represents an architectural landmark of audacious
configuration and innovative design.
It is one of several museums belonging to the Solomon R. Guggenheim Foundation and features permanent
and visiting exhibits of works by Spanish and international artists.
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Why bilbao?
Located in Abando, Bilbao, Spain.
After the civil war in 1940’s Bilbao lost major of it’s
industries, leading to emergence of public spaces in
town. The city was left looking for to find a way to
transform itself from a port hub of Spain’s industry
into a vibrant city built on a services economy.
Then city made a conscious decision to save the
city from suffering by having Guggenheim Museum.
As part of a revitalization effort for the city of Bilbao,
for economic stratification, social exclusion, need of
socio-cultural centers and more public spaces.
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Concept
Deconstructivism, translates to the breaking down, or
demolishing of a constructed structure, whether it being for
structural reasons or just an act of rebellion.
The design of the building follows deconstructivism. And is

one of the most admired works of contemporary
architecture. Inspired by the shapes and textures of a fish.
Seen from the river, the form resembles a boat, but seen
from above it resembles a flower. The museum is essentially
a shell that evokes the past industrial life and port of Bilbao
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PLAN AND ELEVATIONS
The museum is seamlessly integrated into the urban
context, unfolding its interconnecting shapes of stone, glass
and titanium on a 32,500-square-meter (350,000 sqft) site
along the Nervión River in the ancient industrial heart of the
city.
With a total 24,000 square-meter (260,000 sq ft), of which
11,000 square-meter (120,000 sq ft) are dedicated to
exhibition space.
The exhibition space is distributed over nineteen galleries,
ten of which follow a classic orthogonal plan that can be
identified from the exterior by their stone finishes. The
remaining nine galleries are irregularly shaped and can be
identified from the outside by their swirling organic forms
and titanium cladding. The largest gallery measures 30
meters wide and 130 meters long.
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IMPACT ON THE SURROUNDINGS
Almost immediately after its opening, the Guggenheim Bilbao became a popular tourist attraction, drawing
visitors from around the globe.
ECONOMIC GROWTH : In its first three years, almost 4 million tourists visited the museum, helping to
generate about €500 million in economic activity. The regional council estimated that the money visitors
spent on hotels, restaurants, shops and transport allowed it to collect €100 million in taxes, which more than
paid for the building cost.
JOB OPPORTUNITIES : It had created and maintained around 4500 jobs, mainly in transportation and other
hospitality and retail establishments like hotels, cafes, bars etc. This also promoted works of indigenous and
international artists.
LANDMARK : The psychological effect of the museum recover the civic pride among people of Bilbao after
the civil wars and deindustrialization, the museum emerged as a landmark.
IMOPROVED BILBAO’s OUTLOOK : The improvement in mobility through a network of trams, the expansion
and creation of green areas, collaboration with private investment, and the empowerment of local people for
developing their own initiatives. Improved Bilbao’s outlook.
CREATED A WORLDWIDE PHENOMENON : “THE BILBAO EFFECT”.
ENVIRONMENTAL AWARENESS : Increase in tourism generated awareness towards the environmental well
being in the citizen and administration of Bilbao, as a result Nervión river was cleaned of industrial waste
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1.
Norman MODULE : 4
Foster
Hong kong Shanghai Bank
Renault Distribution Centre,
Sweden
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STRUCTURALISM
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.
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About Norman Foster
▣ Norman Foster was born in Manchester, England in 1935.
▣ He entered Manchester University School of Architecture and City Planning
when he was 21 (1956) and graduated in 1961.
▣ Later he got a fellowship at Yale School of Architecture, and completed his masters
▣ Under Richard Rogers, also his future business partner.
▣ Foster and Partners has received over 190 awards and has won over 50 national and
international competitions.
▣ In 1999 he was was awarded the 21st Pritzker Architecture Prize Laureate.
“THE BEST ARCHITECTURE COMES FROM A SYNTHESIS O F A L L THE ELEMENTS T H A T

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Ar.Sharia Durrani Nitte School of Architecture Planning and design SEPARATELY COMPRISE A BUILDING…” - FOSTER
HONG KONG AND SHANGHAI
BANK
▣ He wanted to create a building that was not solely a bank
▣ Wanted change in current trend of building skyscrapers.
▣ Hated the idea of a central service core, pushing service
areas to the edge of the building in his design.
▣ Structural steel frames supported the floors.
▣ Positioning of elevators, banking halls and atrium done in
accordance with feng-shui .
▣ The atrium pulls light into the heart of the building and
pushes it through the building, penetrating all spaces.
▣ Foster pushed the elevators to the very edge of the
building, thus opening interior space and allowing more
flexibility.
▣ Glass and steel appearance from interior and exterior.
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Renault Distribution Centre
Norman Foster
The Renault Distribution Centre

has a visible, expressive structure.
Unlike other huge, often
anonymous distribution sheds,
the 25,000-square-metre building
has an extremely distinctive
profile created by 59 bright-
yellow masts and arched steel-
beams that support the roof. 16
2.
Richard Roger MODULE : 4
Sir Michael Hopkins Design Philosophies
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Richard Roger
▣ Attended the Architectural Association School of
Architecture in London, before graduating from Yale School
of Architecture in 1962.
▣ At Yale he met fellow students Jesse Mccartney & Norman
Foster and on returning to England he set up architectural
practice as Team 4 with Foster and their respective
girlfriends, the sisters Georgie and Wendy Cheesman.
▣ In 1967 the practice split up,and Rogers joined Renzo Piano.
▣ After working with Piano, 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.
▣ was awarded the 2007 Pritzker Prize, architecture's highest
honour.
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Theory
▣ 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 they 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
that 75 per cent of global energy consumption is produced
by buildings and transportation.
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Sir Michael Hopkins
▣ “Our design approach synthesizes creative imagination and rational logic. Producing buildings that
have a popular public appeal, whilst bearing no contradiction to the progressive culture of the early
twenty-first century.”
▣ DOB May 7th 1935 in Poole, Dorset Graduated in 1964 from the Architecture Association.
▣ Worked with Leonard Manasseh on the design of new residence halls at Leicester University
Collaborated with Norman and Wendy Foster on an industrial Estate in Yorkshire in 1968 beginning
a partnership that lasted eight years.
▣ Founded Michael Hopkins and Partners in 1976. Received the CBE IN 1989.
▣ Knighted for his services to British Architecture in 1995.
▣ Royal Gold Medal for architecture in 1994. He is a trustee to the British Museum and served on the
council of the Royal Institute for British Architects from 1991-1994.
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Design Philosophy
▣ “In pursuing environmentally appropriate buildings we are committed to developing designs that reconcile
the potentially conflicting ethical and financial interests of our clients. We aim to integrate first principle
concepts that enable each building component to contribute to energy conservation and operational
efficiency as well as to its appearance. The integration, rather than the duplication of elements which control
the environment is fundamental to this end.”
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2. MODULE : 4
Pompidou Centre,Paris
Menhil
Renzo Piano Museum,Houston
Lyon-Stolas Railway
Santiago Calatrava Station
Olympic Stadium at
Athens
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Renzo Piano
P h i l o s o p h y A n d A r c hi te ctu r al Style:
▣RENZO PIANO Renzo Piano w a s b o r n o n September 14, 1937 in Genoa (Italy), in the bosom of a
wealthy family of construction companies.
▣ Renzo Piano's w o r k h a s been called high-tech a n d b o l d p o s t m o d e r n i s m . The interior is

o p en , light, m o d e r n , n at ural , o l d a n d n e w at t h e s a m e time. "Unlike m o s t o t h er architectural
stars," w rit es architecture critic Paul Goldberger, "Piano h a s n o si g n at ure style. Instead, his
w o r k is characterized b y a g en ius for balance a n d context....“
▣ Richard George Rogers, born on July 23rd 1933 in Florence, is an Italian born British
architect known for his modernist and functionalist designs.
▣ Richard Rogers’ architectural philosophy’s topics are legible, transparent, lightweight,
systems, urban, public and green.
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CENTRE GOERGES POMPIDOU
▣ Type : C u l t u r e a n d L e i s u r e A r c h i t e c t u r a l s t y l e : P o s t m o d e r n / High-Tech
▣ L oc a ti on : Paris, F r a n c e
▣ S t r u c t u r a l s y s t e m :s u p e r s t r u c t u r e w i t h r e i n f o r c e d c o n c r et e floors
▣ C o m p l e t e d : 1971 - 1977
“Georges P o m p i d o u National Art a n d Cultural Centre”
▣ French national cultural Centre o n the Rue Beaubourg a n d o n the fringes of the historic Marais
section of Paris; a regional branch is located in Metz. It is n a m e d after the French president Georges
Pompidou, u n d e r w h o s e administration the m u s e u m was commissioned.
▣ THEMES OF THE DESIGN

• Flexible envelope
• Steel structure
• Simple geometric form
• Exterior mechanical
• Open piazza
• Building circulation
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▣ It is a building in two parts:
1. Three levels of infrastructure

w h e r e they gather technical
facilities a n d service,
2. A large glass a n d steel
superstructure of seven levels,
including the terrace a n d the
mezzanine, which concentrates
most sectors of activity of the
Center, with the exception of
Ircam, located in the plaza
Stravinsky
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▣ The different systems o n the exterior of the building are
painte d different colors to distinguish their different roles.
• The structure a n d largest ventilation components were painte d
white,stairs a n d elevator structures were painted a
silvergray,ventilation was pai nte d blue,pl um bi ng a n d fire control
pipi ng pai nte d green,the electrical elements are yellow a n d
orange, a n d the elevator m o tor rooms a n d shafts, or the
elements that allow for m o ve m ent t h r o ugh out the building, are
pai nte d red.
▣ One of the "movement" elements that the center is most
k n o w n for is the escalator (painted r e d o n the bottom) o n the west
facade, a tube that zigzags u p to the t o p of the building pro vi di ng
visitors w i t h a n astonishing view of the city of Paris.
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MENIL MUSEUM, HOUSTON
▣ The Menil Collection, located in Houston, Texas, USA, refers either to a museum that houses the private art
collection of founders John de Menil and Dominique de Menil.
▣ The Renzo Piano-designed museum opened to the public in June 1987, has collection of twentieth-century art,
including over 15,000 paintings, sculptures, prints, drawings, photographs, and rare books.
▣ DESIGN: Unlike the Kahn plan, the building envisioned by Piano—his first in the United States—would
not remake the existing neighborhood but rather blend in and harmonize with it.
□ The exterior—an understated facade of gray cypress siding, wide expanses of glass, and white-painted
steel—echoes the surrounding bungalows, all of them painted the same shade of what has become
known as “Menil gray.”
□ The building’s dark-stained pine floors, low-slung profile, large lawn, and surrounding portico (which
mimics the deep porches typical of early Houston homes) further recall the neighboring domestic
structures.
□ Telling Piano what she wanted in very simple but specific terms—a museum that would look “small on
the outside, but be as big as possible inside”—de Menil got exactly what she wanted; although the Menil
is large, it sits gently in its residential setting, and its careful proportions and placement engage easily
with the nearby houses.
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CAMPUS
▣ The museum campus has grown to include two satellite galleries to the main
building: Cy Twombly Gallery and The Dan Flavin Installation at Richmond
Hall, which houses Dominique de Menil's last commission.
▣ Two other buildings founded by the de Menils, but now operating as
independent foundations, complete the campus: The Byzantine Fresco
Chapel and the Rothko Chapel.
▣ The museum has a library that is open to qualified researchers by
appointment and a bookstore open during museum hours.
▣ The neighborhood as a whole has a coordinated feel. The Menil Foundation
began buying homes in the area in the 1960s and painting them the same
shade of gray over time.
▣ When the museum building was constructed, it too was painted "Menil gray".
▣ Though subtle, the result is a neighborhood that feels aesthetically unified.
▣ Currently the surrounding bungalows are used as additional office space for
museum employees, or rented to individuals or non-profit organizations.
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LIGHTING
• De Menil insisted that most of her collection
be displayed in natural light so that visitors
could experience art as she did in her home,
enlivened by the subtle changes that occur
at different times of the day or year.
• It was also critical that the works be
protected from the harmful effects of
ultraviolet rays.
• Piano, with engineering consultants from
Ove Arup and Partners, made several trips to
Houston to measure light intensity and
atmospheric conditions
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STRUCTURE
▣ While technology provided the necessary data, it
was a trip to Israel’s Kibbutz Ein Harod with de Menil
that provided Piano with his first inspiration.
▣ The kibbutz’s architect, Samuel Bickets, had
suspended a screen beneath the museum building’s
skylights that filtered sunlight, which could fill the
gallery without directly striking works of art.
▣ The second inspiration was Piano’s own sailboat, a
model of which the architect had recently built
using ferro-cement.
▣ Enchanted by the flexibility of this particular
material, Piano designed a wave-shaped “leaf” for
the Menil’s roof and ceiling, which he used along
with white steel trusses, both in the gallery spaces
and on the building’s exterior, to unify the structure.
▣ The leaves function as a method of controlling light
levels and also as a means of returning air flow
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Santiago Calatrava
Calatrava began working with small engineering commissions.
He also began to enter competitions, feeling that this was his most likely
way to obtain commissions.
In 1983, he won his first competition for Stadelhofen
Railway Station in Zurich.
In 1984, Calatrava won another competition to design and build the
Bach de Roda Bridge
This was the beginning of the bridge projects that created his
international reputation.
Architect, artist, and engineer.
Born on July 28, 1951, near Valencia, Spain.
His family on both sides was engaged in the agricultural export business,
which gave them an international outlook.
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Satolas TGV Station
▣ Location:Lyons, France
▣ Project Design Date:1989
▣ Project Completion Date:1994
DESIGN:Competition won by Calatrava.
The competition brief stated that the clients sought an exciting symbolic structure to serve
as a landmark, which would at the same time be pleasant to use.
The station is made of 2 elements:the tunnel for the trains (built of reinforced concrete), and
the large access and distribution hall resting on top of it (built with metallic structure)
The station hall is placed symmetrically over the tracks.
There is a 500 meter long covered train platform.
The station hall is connected to the airport through a covered steel gallery.
The bus and taxi terminals are on the west side of the station hall.
The station has 6 tracks.
The center two pass through a caisson for nonstop trains which are traveling at full speed.
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34
Site Context Consideration
Lyon became connected by rail to the airport at
Satolas
Towns further away received a direct link to the
airport through the high speed rail network.
They selected an expressive and easily grasped form,
the image of which can be readily associated with
the region when seen from both the ground and the
air.
It symbolizes the idea of flight and passage, the
character of the mountain scape, and the notion
of soaring.
They felt that the existing architecture of the airport should be
preserved and enhanced by the new building.
Therefore, they framed the front of the building and
conserved the symmetry of the complex as much as
possible. 35
The complex gives the idea of lightness although it
uses heavy materials - steel and concrete.
It was intended that passengers should not be in
doubt that they are arriving at the airport.
Therefore, the platform roofs were lowered to give
an unobstructed view of the station against the
background of the airport building, and the traffic
access was arranged to approach the main
building from the front to emphasize its
appearance and function.
He dictated the kinds of movement that take place
there:flow of trains, buses, cars, and pedestrians.
There was a special stipulation
related to movement:good
passenger orientation.
The size and directions of the volumes
keep passengers oriented.
The roof accomplishes this the best. It is complex,
highly recognizable, identifiable, and memorable.
The shape is to resemble the silhouette of a
gigantic bird that “unfolds its wings longitudinally
over the platforms”.
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The train tunnel is made up of a series of modular
elements in reinforced concrete, cast on site with
steel forms.
The basic module is 9 meters long and refers to the
length of one car of the train. The structure
becomes more and more open as it nears the
exterior.
The support structure for the platform roof is
assembled out of inverted “V” like concrete
elements.
This 53 meter wide web-like concrete nave is glazed
above the areas of passenger movement.
The station hall roof is supported by 2 steel arched.
Twomore steel arched beams follow the line of the
middle ribs of the roof.
All 4 curved beams span 100 meters, supported by
one concrete abutment in the west.
The glazed screens rest on large concrete arches
spanning the width of the station while smaller
arches below from portals to the station walkways.
The space between these arches is fitted with glass
sheets which can be rotated for ventilation purposes.
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Olympic Stadium at
Athens
▣ The Olympic Stadium roof, partially covered with a new roof of
polycarbonate, is composed of a pair of bent “leaves” that cover a
surface of 253,000 square feet while leaving an open area over the
playing field. The bearing structure of each leaf is a tubular steel
arch joined by cables to a torque tube, which supports a series of
transverse ribs spaced at 16.5-foot intervals. A system of secondary
cables transfers the weight from the ends of the ribs and stabilizes
the arch, which spans 997 feet, and rises to 236 feet. The two
leaves are joined at their ends to form an oval. They were
fabricated off-site and slid into position during the final assembly
this summer.
▣ Master plan
The master plan creates what Calatrava calls a “Common Domain”
along a central, east-west pedestrian route that runs between the
Olympic Stadium and the Velodrome. The Common Domain is
home to the Olympic Cauldron. The area also houses the Agora,
which runs in an arc along the northern edge of the Common
Domain, alongside a dual band of water and trees. It encloses a
pedestrian arcade and access to the Sponsors’ Hospitality Village
and a dedicated entrance and parking area for the Olympians,
sponsors, VIPs, and guests. To the north of the Agora is a service
area accommodating back-of-house facilities, plus a new warm-
up field for the athletes.
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Post-
Modernism MODULE : 5
39
POSTMODERN ARCHITECTURE
emerged in the 1960s as a reaction against the perceived shortcomings of modern architecture, particularly its rigid
doctrines, its uniformity, its lack of ornament, and its habit of ignoring the history and culture of the cities where it
appeared. In 1966, Venturi formalized the movement in his book, Complexity and Contradiction in Architecture.
Postmodern buildings had curved forms, decorative elements, asymmetry, bright colours, and features often
borrowed from earlier periods. Colours and textures were unrelated to the structure or function of the building.
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Michael Graves
MODULE : 5
James Starling
1.
Rbert Venturi Daneil Leibskind
• Jewish
Frank Gehry Museum,Berlin
• World Trade Centre
2.
Daneil Leibskind Rem Koolhas
• Dance Theatre
• The Hague
Rem Koolhas • Netherlands Sports
Peter Eisenman 3.
Museum
Zaha Hadid
• The Peak
Zaha Hadid Club,HongKong
• IBA Housing Block
Coop Himmelblau 2 west Berlin
Bernard Tschumi
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Michael Graves
▣ Michael Graves (1934–2015) designed two of the most prominent buildings in the postmodern style,
the Portland Building and the Denver Public Library. He later followed up his landmark buildings by
designing large, low-cost retail stores for chains such as Target and J.C. Penney in the United States, which
had a major influence on the design of retail stores in city centers and shopping malls. In his early career,
he, along with the Peter Eisenman, Charles Gwathmey, John Hejduk and Richard Meier, was considered
one of the New York Five, a group of advocates of pure modern architecture, but in 1982 he turned toward
postmodernism with the Portland Building, one of the first major structures in the style. The building has
since been added to the National Register of Historic Places.
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James Starling
▣ Sir James Frazer Stirling RA (22 April 1926 – 25
June 1992) was a British architect.
▣ Stirling worked in partnership with James
Gowan from 1956 to 1963, then with Michael
Wilford from 1971 until 1992.
▣ During the 1970s, Stirling's architectural language
began to change as the scale of his projects
moved from small (and not very profitable) to very
large. His architecture became more
overtly neoclassical, though it remained deeply
imbued with modernism. This produced a wave of
large-scale urban projects, most notably three
museum projects for Düsseldorf, Cologne,
and Stuttgart. Winning the design
competition for the Neue Staatsgalerie, it came to
be seen as an example of postmodernism, a label
which stuck but which he himself rejected, and
was considered by many to be his most important
work 43
Rbert Venturi
▣ Robert Charles Venturi Jr. (June 25, 1925 – September 18, 2018) was an
American architect, founding principal of the firm Venturi, Scott Brown and Associates,
and one of the major architectural figures of the twentieth century.
▣ A controversial critic of what he saw as the blithely functionalist and symbolically
vacuous architecture of corporate modernism during the 1950s, Venturi was one of the
first architects to question some of the premises of the Modern Movement. He
published his "gentle manifesto", Complexity and Contradiction in Architecture in 1966;
in its introduction, Vincent Scully called it "probably the most important writing on the
making of architecture since Le Corbusier's Vers Une Architecture of 1923.“
▣ The book demonstrated, through countless examples, an approach to understanding
architectural composition and complexity, and the resulting richness and interest.
Citing vernacular as well as high-style sources, Venturi drew new lessons from the
buildings of architects familiar (Michelangelo, Alvar Aalto) and, at the time, forgotten
(Frank Furness, Edwin Lutyens). He made a case for "the difficult whole" rather than
the diagrammatic forms popular at the time, and included examples — both built and
unrealized — of his own work to demonstrate the possible application of such
techniques. The book has been published in 18 languages to date.
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Daneil Leibskind
▣ Born in Poland shortly after the end of the second world war, Libeskind's parents were Jewish survivors of
the Holocaust.
▣ In his early career, Libeskind was a theorist and professor, however his career as a practicing architect
began in the late 1980s, as he started entering competitions while living in Milan.
▣ He finally started his own firm in Germany soon after winning the 1989 competition to design the Jewish
Museum in Berlin.
▣ DESIGN: Much of Libeskind's work is instantly recognizable for its angular forms, intersecting planes,
and frequent use of diagonally-sliced windows, a style that he has used to great effect in museums and
memorials—but which he has equally adapted to conference centers, skyscrapers, and shopping malls.
▣ PHILOSOPHY: Daniel Libeskind is renowned for his ability to evoke cultural memory in buildings.
Informed by a deep commitment to music, philosophy, literature, and poetry, Libeskind aims to create
architecture that is resonant, unique and sustainable.
□ Architecture tells a story about the world, our desires and dreams. Architecture, and the buildings,
are much more than a place, they are destinations meant to evoke emotion and to make you think
about the world we all live in.
□ Buildings and urban projects are crafted with perceptible human energy and that they speak to the
larger cultural community in which they are built. 45
Jewish
Museum
46
ONE WORLD TRADE CENTER
▣ One World Trade Center is located in the
northwest corner of the World Trade Center site, on
land claimed from the Hudson River over centuries of
development in Manhattan.
▣ The site, several blocks east of the river and in
the heart of the financial district, which house more
than ten million square feet of commercial
development in the towers, a performing arts center,
500,000 square feet of retail, a transportation hub,
and, at its center, the National 9/11 Memorial &
Museum.
▣ The master plan restores Fulton and
Greenwich Streets, formerly blocked by the World
Trade Tower plaza and the original 7 World Trade
Center building.
▣ The 2013 opening of 4 World Trade Center, the
second tower to rise on Greenwich Street, signalled
an important step towards completing the
spiralling master plan, wherein each new tower
stands progressively taller, culminating in the
symbolic 1,776-foot One World Trade Center. 47
▣
The tower rises from a podium whose
square plan measures approximately 204 feet
by 204 feet (62.18m), the same footprints as the
original towers.
▣
The podium is 186 feet (56.7m)tall and is
GROUND FLOOR clad in triple- laminated, low-iron glass panels
and horizontal, embossed stainless steel slates.
▣
Then more than 4,000 glass panels, each
measuring approximately 13 feet by two feet,
LOWER FLOORS are fixed and positioned at varying angles
along the vertical axis to form a regular
pattern over the height of the podium.
This pattern both ▣
accommodates
ventilation for the mechanical levels behind
the podium wall and, in combination with anti
reflective coating, refracts and transmits light
to create a dynamic, shimmering surface. The
podium’s heavily reinforced concrete walls
serve as a well-disguised security barrier.
INTERMEDIATE FLOORS HIGHER FLOORS
48
• Above the podium, the tower’s square edges are
chamfered back, transforming the square into
eight tall isosceles triangles.
• At its middle, the tower forms an equilateral
octagon in plan and then culminates in a
stainless steel parapet whose plan is a 150- foot
by 150-foot square, rotated 45 degrees from
the base.
• The surface of the tower refracts light and
appears to evolve during the time of the day.
• One World Trade Center features a hybrid
structure comprised of a high-strength
concrete core surrounded by a perimeter
moment frame of steel.
• Paired with the massive concrete shear walls
of the core, the steel frame adds rigidity and
structural redundancy.
• Both bolted and welded together for maximum
connection strength.
• The tower’s tapered, aerodynamic form
reduces exposure to wind loads while
simultaneously reducing the amount of
structural steel needed.
49
• The spire performs multiple
functions, most of which involves
broadcasting and digital
communication.
• It’s a hybrid structure consisting of 2
major components: a 137 meter spire
and a 3 level communications platform
ring.
• At the base of the spire, the circular lattice
ring supports electronic news gathering
antennas and communication antennas.
• To add more support cables are connected
from the mast back to ring.
• Large helical channel, called strakes are built
into the geometry of radome and wrap
around the antenna to direct wind up and
away from the structure.
50
Critical analysis
• Daniel Libeskind’s works has critics charge that it
reflects a limited architectural vocabulary of jagged
edges, sharp angles and tortured geometries, that
can fall into cliché, and that it ignores location and
context.
• On the same lines, the one world trade center
located in a rather difficult site which hold
emotional value to many ; looks like its built to be
the tallest building and could have been built
anywhere in the world.
• Also many New Yorkers expected the building to
be as tall of the former twin towers but It abruptly
stops at 1,368 feet, the height of the former twin
towers, achieving its symbolic target number —
1,776 feet — by the Spire.
51
Rem Koolhas
• Born November 17, 1944 in Rotterdam, Netherlands

• "Professor in Practice of Architecture and Urban Design" at Harvard University's Graduate School of
Design
• DESIGN:Boldly produces buildings that differ visually to their surroundings
• Celebrates the "chance-like" nature of city
• His work emphatically embraces the contradictions of two disciplines architecture and urban design.
• An influential architect of the contemporary scene - Aspiring, adventurous, visionary and
innovative.
• Creates new precedent with ‘top down skyscraper’ for a ‘top down organisation’.
• New Concepts of architecture and structure.
• First instance of a loop form implemented for a building.
• Emphasis on exploiting present day materials.
• Brings in technology, structure as a key component in buildings
• Rem Koolhaas has extended the boundaries of the possible through his radical designs.
52
The Hague and Netherlands Sports
Museum
▣ LOCATION: ROTTERDAM, NETHERLANDS

▣ Year: 1992
• The robust building houses seven exhibition spaces, a
characteristic auditorium, and a café with an ambience of its
own.
• Dubbed as a collection-less museum, the Kunsthal is a
compilation of several galleries and halls that allow for
maximum flexibility and accommodate a multitude of
exhibitions and activities that can coexist singularly or
collectively.
• The 3,300 square meter museum serves as a bridge between
the busy expressway and the museum park to the north.
• The museum sits as a subdivided volume of four autonomous
parts that are created by two intersections that are extensions
of the surrounding city.
53
ARCHITECTURE WITH
MANY FACES
• The Kunsthal building has many faces. As a

whole it seems straightforward: a large, flat,
square box with a narrow, high tower as a
vertical accent.
• This rooftop tower bears the characteristic
black-and-white logo of the Kunsthal as
well as providing cooling and ventilation.
• Since every façade is different and there is
no clear front or back, the Kunsthal
sometimes looks transparent and open, at
other times introvert and closed.
• Its appearance on one side is calm and
lucid, while on the other side it is
fragmented like a collage of separate
elements.
54
MATERIAL
• Koolhaas used not only expensive, classic materials such as marble and parquet for the Kunsthal, but
also cheap, ‘common’ materials such as corrugated plastic, bare concrete, galvanised steel gratings
and rough tree trunks.
• Each exhibition space has its own character and atmosphere, use of material and format.
• Daylight is filtered through various layers; the alternation of window and matt glass affords surprising
vistas, making the Kunsthal very suitable for all kinds of exhibitions.
CHARACTERISTIC
• Koolhaas’s building is functional, but at the same time it is a contemporary work of art full of themes,
references and special effects.
• Thus the floor plate under the main exhibition space on the dyke is slightly higher than street level, so that
this part of the building seems to float.
• The Kunsthal is a series of spatial conditions and juxtapositions that even though programmatically
different and separate begin to reveal themselves to one another to create a seemingly unified system.
• As the spaces are inherently different, so is the structural system of each of the volumes that make up the
Kunsthal.
55
Netherlands Dance Theater
Completed in 1987, the Netherlands Dance Theater was OMA’s first
major project.
• The Netherlands Dance Theatre, completed in 1987, was originally
conceived in 1980 as an extension to a circus theatre in
Scheveningen, a seaside resort in The Hague.
• In 1984, the design was adapted for a new site- the Spui Complex -
in the center of The Hague.
• Located in the Spui Complex in the Hague, Koolhaas’s theater
shared the site with a hotel and a concert hall, incorporating the
latter ’s exterior wall in a shared foyer.
• The complex was demolished in 2015.
• The plan, which was partially determined by the grid of the
parking garage below, divides the building into three parallel
programmatic zones.
• The large zone contains the stage (35 x 18m2) and 1,001 seat
auditorium.
56
Peter Eisenman
▣ Born on august 11,1932
▣ Birth place:newark, new jersey
▣ Attended columbia high school, new jersey
▣ Completed b.Arch from cornell university followed by m.Arch from
columbia university
▣ Also, acquired m.A AND ph.D. Degrees from cambridge university
▣ He rejected the functional concept of modernism by designing
stairways that led nowhere or columns that did not function as
support
▣ his works were characterized by disconcerting forms, angles and
materials
▣ according to eisenman, when you can sense the incompleteness of a
finished structure, it is a paradoxical experience. If the parts that
make up a whole are in conflict, the sensation of the incomplete
contests the fact that the structure is, in fact, a finished and fully
enclosed space MUSEUM OF GALICIA 57
Thanks!
Any questions?
shariadurrani@nittesoa.ac.in
58

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CONTEMPORARY

Ar.Sharia Durrani Nitte School of Architecture Planning and design

▣ FRANK GEHRY WAS born in Toronto, Canada, in 1929

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The design of the building follows deconstructivism. And is

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The Renault Distribution Centre

▣ Renzo Piano's w o r k h a s been called high-tech a n d b o l d p o s t m o d e r n i s m . The interior is

▣ THEMES OF THE DESIGN

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• Born November 17, 1944 in Rotterdam, Netherlands

▣ LOCATION: ROTTERDAM, NETHERLANDS

• The Kunsthal building has many faces. As a

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