SIGMA COLLEGE OF ARCHITECTURE

Moododu, Anducode Post, Kanyakumari District-629168

(Approved by COA-New Delhi & Affiliated to Anna University-Chennai)

AR8602
HISTORY OF CONTEMPORARY
ARCHITECTURE

Faculty incharge:Ar.KEERTHANA N
Third year, 6TH Semester
Academic year (2022-2023)
 UNIT I - MODERN ARCHITECTURE – SPREAD AND LATER
DIRECTIONS

CONTENTS

 TEAM X
 Brutalism - projects of Alison & Peter Smithson.
 Ideas and Works of
I. Philip Johnson
II. Louis Kahn
III. Paul Rudolph
IV. Eero Saarinen
V. SOM
VI. Eames
VII. I.M. Pei
 Modern Architecture and Post-Independence India.
 National Building, Institutions (PWD Architecture)
 Chandigarh
 Evolution of Architectural profession in India & its influence.
 Works of
I. Kanvinde,
II. Habib Rehman
III. Le Corbusier,
IV. Louis Kahn
V. Anante Raje,
VI. Charles Correa,
VII. B.V. Doshi
CIAM (International Congresses of Modern Architecture)

The International Congresses of Modern Architecture (CIAM) was founded in June

1928 at Switzerland, by a group of 28 European architects organized by Le Corbusier.

It was responsible for a series of events and congresses arranged across Europe by
the most prominent architects of the time.
The objective is to spread the principles of the Modern Movement focusing in all the
main domains of architecture (such as landscape, urbanism, industrial design, and
many others).
The organization was hugely influential. It was not only engaged in formalizing the ar-
chitectural principles of the Modern Movement, but also saw architecture as an eco-
nomic and political tool that could be used to improve the world through the design
of buildings and through urban planning.
They focused on the universal adoption of rationalization & standardization method
and found that efficient method of production involves rationalization and standardi-
zation.

As CIAM members traveled worldwide after the war, many of its ideas spread outside
Europe, notably to the USA. The city planning ideas were adopted in the rebuild-
ing of Europe following World War II. The CIAM organization disbanded in 1959 as
the views of the members diverged.

For a reform of CIAM, the group Team 10 was active from 1953 onwards, and two

different movements emerged from it: the New Brutalism of the English members

(Alison and Peter Smithson) and the Structuralism of the Dutch members (Aldo van
Eyck and Jacob B. Bakema).

2
TEAM – X

Team 10 — just as often referred to as Team X or Team Ten — was a group of archi-
tects and other invited participants who assembled starting in July 1953 at the 9th
Congress of the International Congresses of Modern Architecture (CIAM) and creat-
ed a schism within CIAM by challenging its doctrinaire approach to urbanism.

 Team X responsible for the demise of CIAM

 There was drive to find out more precise relation between physical form and so-
cio – physiologial need.
 Golden lane project by Smithson. It was a reaction against to Corbusier’s Ville
radieuse

and zoning of the four functions of the city in to dwelling.

 Team X committed to multilevel city & Low rise high density residential development.

Open city concept influenced from Louis-i-Kahn’s work.

As to people who are interested in Team 10, Team 10 might ask a few serious questions:
 ‘Why do you wish to know?’
 ‘What will you do with your knowledge?’
 ‘Will it help you regenerate the language of Modern Architecture so that it
would again be worth inheriting?’
-Alison Smithson in: Team 10 Meetings, 1991

Two different movements emerged from it: the New Brutalism of the English mem-

bers (Alison and Peter Smithson) and the Structuralism of the Dutch members (Aldo
van Eyck and Jacob B. Bakema).

3
BRUTALISM (1950 – 1970)

“New Brutalism” Coined by British architects Alison and Peter Smithson in 1953 “raw
concrete” as Le Corbusier described his choice of material ‘brut’- ‘raw concrete’
with which, he constructed many of his post-World War II buildings.

The term gained wide currency when the British architectural critic historian Reyner
Banham used it in the title of his 1966 book, The New Brutalism: Ethic or Aesthetic?

Brutalism gained considerable momentum in the United Kingdom during the mid-
twentieth century, as economically depressed (and World War II-ravaged). Communi-
ties sought inexpensive construction and design methods for

 Low-cost housing

 Shopping centres

 Government buildings

The best known early Brutalist architecture is the work of the Swiss architect Le Corbusier, in

particular his Unité d'Habitation (1952) and the (1953) Secretariat Building in Chan-
digarh, India.

“Brutalism is not concerned with the material as such but rather the quality of the ma-
terial that is with the question: what can it do?

And by analogy: there is a way of handling gold in Brutalist manner and it does not
mean rough and cheap, it means: what is its raw quality?”

- Smithson

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PALACE OF ASSEMBLY

Secretariat Building Chandigarh

CHARACTER OF BRUTALISM

 The Structure is of heavy

massing, the used of slender
base supports, and the
sculpture use of raw concrete.
 Strong bold Shapes
composed.
 Reinforced concrete
structure expressed.
 Repeated modular
Elements forming masses
representing.
 Diagonal, sloping or strong
curved elements.
 Contrasting with Horizontal and vertical members.
 Surfaces of cast concrete are made to reveal the basic Nature of its construction,
revealing the texture of the wooden planks used for the in-situ casting forms.

 Brutalist building materials also include brick, glass, steel, rough-hewn stone,
and gabions.

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 PROJECTS OF SMITHSONS
PETER SMITHSON – An initiating
architect to BRUTALISM
SMITHSONS - members of MARS
(Modern Architectural Research Society),
the English branch of CIAM in 1951.
in 1953 smithsons with ‘young architects’
team 10, revolt against old CIAM philoso-
phers of modernism .
IN 1959, they with aldo van eyck ,
coined and lead to ‘NEW BRUTALISM’.
 SMITHSON HIGH SCHOOL, (1949–54).

 HOUSE OF THE FUTURE EXHIBITION (1956).

 THE ECONOMIST BUILDING, LONDON (1959–65).
 GARDEN BUILDING, OXFORD (1968).
 ROBIN HOOD GARDENS HOUSING (1969–72).
 UNIVERSITY OF BATH, ARCH & ENG (1988).
 CANTILEVER-CHAIR MUSEUM.

ROBIN HOOD GARDENS HOUSING, LONDON (1969–72)

 Robin Hood Gardens is a
SOCIALHOUSING COMPLEX in
East London
Built during POST-WAR BRITAIN
Built with BALFRON tower.

 213 apartment houses - made of

TWO HORIZONTAL STRUCTURES.
Designed for location and its use,
Social spaces, exhibit his theories on
brutalism. Improving people’s lives
through design. MATERIALS- PANELS OF
PRE-CAST CONCRETE & GLASS.

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 Concept – streets in sky...
Both apartment have one and two
story apartments. A huge garden
between two built-up. For social
space it has a rising hill with con-
struction remains.

Textured facade on east side by

stone. To allow in more southern
light, one of the buildings is ten sto-
ries high, while the other is seven sto-
ries.

Every third level of the buildings a

CRITICS- CRIME Takes place there…
more structural costs….
GARDEN BUILDING, OXFORD (1968)
wide concrete balcony. It’s viewed
towards the center of the site, over-
looking the garden.
To him it is Neighborhood Street for
these housing units. It made multiple
people to walk and for children to
play.

 SITE SELECTION – AT MIDDLE not to close the VIEW OF THE RIVER for rest of the col-
lege at present or in future.

 SERVICE ROAD at the back of the building, for vehicular service for the FUTURE
COLLEGE GROWTH without impacting on the green space - CENTER SPACE WAS
SELECTED.
Concept – Privacy in Elevation
The problem was the boys colleges nearby
and to create privacy to this block …

SOLUTION: The elevations design float-

ing timber oak frame work resting on
concrete knuckles, precast concrete
mullions as load bearing frames in front
of load bearing cellular brick walls.

Acc. To Smithson’s, Light is vital but sepa-

rate external screen of timber members,
cut glare & gives a sense of insecurity.

The building (three sides with windows)

and a back (with London stock bricks).

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 The building fulfilled-bed
layouts, acoustical privacy,
short corridors, wash basins
in mini-dressing rooms and
clothing storage for each
unit, which all came within
the allocated costs.

THE SMITHSONS’ ECONOMIST PLAZA (1964)

Each block is faced in PORTLAND STONE with a fos-

sil and is CHAMFERED to soften its relationship to the
others.

Perspective view from street edges.

The Georgian brick the columns touch ground with slight

rebate,

The BAROQUE LIKE STONE is revealed unpol-

ished and unsealed.

The joints are expressed with DEEP GROOVES.

The LEVELS and OBLIQUE ANGLES make a joyful

and unexpected series of moments

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SMITHDON HIGH SCHOOL, HUNSTANTON (1949–54).

IDEAS, WORKS AND EVOLUTION OF

PHILIP jOHNSON

 BORN - July 8, 1906 - Jan 15 2005

Cleverland, Ohio, U.S

 UNIVERSITY - Harvard Graduate School of

Design Cambridge,
Massachusetts

 ARCHITECTURAL STYLE - International

and Postmodernism

 AWARDS - 1979 - Pritzker prize

1978 - AIA Gold medal

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 PHILOSOPHY

CRUTCHES - By which architects evade their real responsibilities are

History - Justifying elements which are Earlier used
Utility - If utility of a building overcomes artisic inventions then it is merely
an assemblage of useful parts.

NOTABLE WORKS

 The Glass House

 Seagram Building
 AT & T Building
 Amon Carter Museum
 Chapel of st.thomos
 PPG Place
 Crystal Cathedral
 Houston’s Nondenominatinal Rothko Chapel
 IDC Center
 Museum of modern art
 Lipstick Building
 David.H.koch Theatre

LOUIS I KHAN

 BORN - February 20th 1901 – March 17th 1974

New York, U.S

 UNIVERSITY – University of Pennsylvania

School Of Fine Art

 ARCHITECTURAL STYLE – Monumental

and Brutalism

 AWARDS - 1979 - Pritzker prize

1978 - AIA Gold medal

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PHILOSOPHY

 Khan was interested in community life and the social responsibility of archi-
tecture.
 Simple platonic forms and composition
 space through planes and try to generate space using planes.
To understand the characteristics of plane and explore their potential in creation of
spaces.

NOTABLE WORKS

 Yale university art gallery

 The salk institute, california
 Indian institute of management, ahmedabad
 Yale center for british art
 Kimbell art museum, texas

PAUL RUDOLPH

 BORN - October 23, 1918 – August 8, 1997

New York, U.S

 UNIVERSITY – Harvard Graduate School of

Design

 ARCHITECTURAL STYLE - Mordenism

 AWARDS –1954 - Outstanding Young Architect Award

PHILOSOPHY
 Characterized by Boldly contrasting masses, complexity interlocking spaces & inno-
vative surfaces
 The interiors are dynamic playing with light and shadow drama & abstraction
 Sweeping monolithic forms & intricate interior space to create sculptural quality

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NOTABLE WORKS

 Yale Art and Architecture Building

 Milam house
 Walker Guest House
 River High School
 Haley Guest House
 Blue Cross – Blue Shield Headquarters
 Sanderling Beach Club

EERO SAARINEN

 BORN – August 20, 1910 – September 1, 1961

Finland, Russian empire

 UNIVERSITY – Yale School of Architecture

 ARCHITECTURAL STYLE – Neo Futuristic style

 AWARDS – 1962 – AIA Gold Medal

PHILOSOPHY
 His neofuturistic vision to individual project
City
which were never exactly the same.
 The next largest context – a chair in a room, Environment

a room in a house, a house in an environment, House

environment in a city plan. Room

 All parts of an architectural composition chair

must be parts of the same form-world.

NOTABLE WORKS

 TWA Flight Centre

 Gateway Arch
 MIT Chapel
 Ingalls rink
 North Christian Church

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  Kresge Auditorium
 Miller House and Garden
 Dultes International Airport

I.M.PEI

 BORN – April 26, 1917– May 16, 2019

Guangdong, China

 UNIVERSITY – University of Pennsylvania

Massachussetts Institute of
Technology
 ARCHITECTURAL STYLE – Modern &
High-tech Architecture

 AWARDS – 1979 – AIA Gold Medal

1983 – Pritzker Prize
1989 – Praemium Imperiale
1993 – Presidential Medal of Freedom
2010 – Royal gold medal

PHILOSOPHY
 Pei believes that form follows intention (which incorporates function)
 I.M. Pei also rejects the Internationalist vision of architecture as future vs. past
 Creating a bridge between the present and the past .

NOTABLE WORKS

 John F Kennedy Library

 National Gallery of Art
 Louver Pyramid
 Bank of China Tower
 Museum of Islamic Art
 Indiana University Art museum

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  Rock and Roll Hall of Fame
 Miho Museum
 John Hancock Tower

SKIDMORE OWING MERRILL

 STARTED – 1936, Chicago

 SERVICES – Architecture ,
Building services/MEP engineering,
Graphics,
Interior design,
Structural engineering,
Civil engineering,
Sustainable design and
Urban design & planning

 AWARDS – 1996 – Architectural Firm Award

2009 – R + D Awards

NOTABLE WORKS
 Oak Ridge New Town Master Plan
 Manhattan House
 Lever House
 Manufacturers Hanover Trust Bank Building
 Inland Steel Building
 United States Air Force Academy
 Burj khalifa
 One World Trade Center
 Jin Mao Tower
 Willis Tower
 River Front Plaza

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EAMES

 STARTED – 1943–1988, Los Angeles, California

 UNIVERSITY – Washington University

Cranbrook Academy of Art

 SERVICES – Furniture design

Films
Architecture

 AWARDS – 1977 – 25 year Award

1979 – Royal Gold Medal
1985 – IDSA

PHILOSOPHY
 Simplicity and Modernity
 Design philosophy was generous, elegant, and had more layers than an onion.
 “To make the best for the most for the least”

NOTABLE WORKS
 Eames House
 National Fisheries Center and Aquarium
 St. Mary's Church, Helena, Arkansas
 St. Mary's Catholic Church
 Griffith Park Railroad
 Herman Miller Showroom
 Max and Esther De Pree House

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MODERN ARCHITECTURE AND POST INDEPENDENCE IN INDIA

 India is one of the countries in the world with the richest history. One of the many
things India is known for is art and architecture. The field of architecture in India has
undergone significant changes since independence. In this article, we analyze the
different phases of architecture in India after post-independence.
 Jawaharlal Nehru, the first prime minister of the independent India is widely known
for his far vision, he was a modernist who favoured state intervention. Nehru was the
one to take the initiative of betterment and development of art and architecture in
India. He was the one behind the brilliant idea of suggesting that one percent of
cost of a public building should go towards its decoration with painting, murals and
sculptures. The mind behind the national art policy headed by the Lalit Kala Acad-
emy and the National Gallery of Modern is none other than him.
 A new era of architecture began when the very famous architect Le Corbusier was

invited to design the capital of the Punjab state, Chandigarh. Le Corbusier’s un-
compromising functionalism consciously broke with the past ‘historicism’ of imperial
architecture. Other invited architect, the very notable Louis Kahn created the
avant-garde architecture with the little spice of the ‘Mughal’, in Ahmedabad. The
fame of Corbusier marked the debut of many.
 Indian architects such as B.V.Doshi. But this shear development of modernism in the
country also created some anxiety in the architects as it was tough at that time to
cope with the modern thought of architects and the old heritage of the nation. As
a result of the influence of modern thoughts, differences of opinion emerged
among the people belonging to the architecture community. Western and colonial
architectural styles were perceived.
 After Independence, India adopted the British Town Planning System by adapting it as
per the requirements of the Indian cities. According to TCPO (1996), the 2nd five year
Plan (1956-61) largely placed the responsibility of planning on the state governments.

 It was emphasized that if planned urban development is to be undertaken, then

each state should have a phased program for the survey and preparation of Mas-
ter Plans for all important towns. It was also identified that in order to get the task of
preparation of Master Plan accomplished, town and country planning legislation

16
 and necessary mechanism for its implementation need to be enacted in all states.
 Since most of the Town Improvement Acts in various states did not had provisions
for preparation of master plans, therefore a need was felt to have a comprehen-
sive Town and Country Planning Act on the lines of the British Town and Country
Planning Act 1947.
 Master Plan involves estimation of future population, social economic conditions
and infrastructural needs along with land use plan (present and proposed) and de-
velopment control restrictions for ensuring that the necessary facilities are in place
when the development takes place.
 Master plan is a statutory document that is approved, enforced and implemented
for controlling, directing and promoting sound and rational development or rede-
velopment of an urban area with a view to achieving maximum economic, social
and aesthetic benefits.

CHANDIGARH – CITY PLANNING

CHANDIGARH was the first planned city after independence from British rule in 1947. It
is the capital city of the states of Punjab and Haryana. The city is located at the pic-
turesque junction of foothills of the Himalayas Mountain range and the Ganges plains.
It houses a population of 1,054,600 inhabitants (2001) and is one of the richest cities of
the nation.

17
Head (the Capitol Complex, Sector 1),

Heart (the City Centre Sector-17),

Lungs (the leisure valley, innumerable
open spaces and sector greens),
Intellect (the cultural and educational institutions),
Circulatory system (the network of roads, the 7Vs) and
Viscera (the Industrial Area).

18
19
20
PWD ARCHITECTURE
 The Public Works Department of India commonly referred to as the PWD, is a
government owned authority in charge of public sector works. The Public Works
Department, under the Ministry of Urban Development, builds and maintains
public buildings.

 PWD came into existence in July 1854 when Lord Dalhousie established a central
agency for execution of public works and set up Ajmer Provincial Division. It has
now grown into a comprehensive construction management department,
which provides services from project concept to completion, and maintenance
management.

 “The organization of the Department of Public Works in the Indian Empire will be
incomplete unless it shall be provided for the Supreme Government itself come
agency by which it may be enabled to exercise the universal control confided
to it over public works in India with the best of scientific knowledge with authority
and system.

 The Government of India shall no longer be dependent on expedients, but should be

provided with a permanent and highly qualified agency to assist in the direction of
this important branch of public affairs. I have, therefore, now to propose that such an
agency should be provided by creating an office of the Secretary to Government of
India in the Department of Public Works. The person who holds it should always be a
highly qualified officer of the Corps of Engineers.”

21
Indo-Saracenic style dominates the architecture of Chennai. Being a very important
port for the British, they invested significantly in building this city. After Kolkata, Chennai
is famous for having the second highest number of heritage structures. The Madras
High Court, PWD Buildings, Victoria Public Hall, YMCA college, University of Madras and
the Government Museum etc. are very prominent structures that showcase the British
influence.

The following are the principal Characteristics of Indo-Saracenic Buildings

 Onion (Bulbous) Domes

 Overhanging Eaves The leading Architects of
 Pointed Arches, Cusped Arches, or 1ndo- Saracenic Buildings in In-
Scalloped Arches dia were
 Vaulted Roofs
 Domed Kiosks  Robert Fellowes Chisholm
 Many Miniature Domes, or Domed Chatris  Charles Mant
 Towers or Minarets  Henry Irwin
 Harem Windows  William Emerson
 Open Pavillions  George Wittet
 Pierced Open Arcading  Frederick W. Stevens

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23
INFLUENCES ON POST-INDEPENDENCE ARCHITECTS
 Independence in 1947 brought forth a bewildering range of problems, opportu-
nities, expectations and dreams. The partition of the country caused a refugee
problem that involved millions of families. All eyes were on a newly formed peo-
ple and its leaders as the nation settled down to doing what had to be done to
set the wheels of development in motion.

 Building styles born of the Modern Movement and the colonial experience were
perceived as foreign and hence anti-national. Some of the tallest political lead-
ers in the land lent their support to the revivalists, who sought to reach back a
thousand years for architectural forms and details which symbolised various clas-
sical eras and golden ages of Indian culture.

 Foremost among the group of architects with the most to lose had the revivalists
gained an upper hand were the first batch of Indians to receive their architec-
tural training in America: Habib Rehman, Achyut Kanvinde and the late Durga
Bajpai. They were all young and idealistic; they shouldered the enormous re-
sponsibilities, and were vulnerable to the criticism of seniors schooled in different
methods. This generation had been exposed to Le Corbusier and other Europe-
an masters via America and not directly. They were also influenced by masters
of the American Modern Movement.

PHILOSOPHIES DESIGN CONCEPTS

All his creations were in strict conformity  He believed that a grid of columns
with these three principles:- forming a matrix giving structural and
spatial aspect would turn a design
FUNCTIONAL-
ISM more sophisticated and faceted.
MODERN ARCHITEC- AND
TURE  He believed in the science of
BRUTAL-
 ISM
REGIONAL- Vaastushastra.
ISM
24
  There buildings were always conceived with first priority given to its functions,
and the social values when designing spaces.

 He rejected symmetry.
MODERN ARCHITECTURE AND BRUTALISM
 Simplification of form and creation of ornament
from the structure
 Elimination of unnecessary detail
 Visual expression of structure, as opposed
to the hiding of structural elements

REGIONALISM
 local climate,
 building materials and
 social conditions
 sound climatological principles.

The institutional buildings he designed in the first five years were conservative. All having:
 Similar facades.

 Horizontal, clean volumes,

 Aesthetically pleasing proportions of

fenestration.

 Ribbon windows.

 A grid frame structure- unexposed,

and plastered exterior finish.

Followed by an experimental phase-

in the course of the next five years
he designed:

Harivallabdas House
IIT Kanpur
Doodhsagar Dairy

25
26
The residential campus is planned and landscaped with a hope for environmental free-
dom.
 Halls of residence, faculty and staff houses and community buildings surround the
central academic area to provide flexibility in movement and communication.
 Total area 1000 acres

 Academic buildings: 13
departments, PK Kelkar Li-
brary, Computer Centres, of-
fices, laboratories and ad-
ministrative buildings
 10 boys hostel and 2 girls hostel

 Sports complex

 Housing for faculty

 His works are generally

 raw and unemotional.

 Yet he managed to make his designs appealing and welcoming.
 His designs were distinct and unique yet having one thing similar- functionalism.
 His designs appear to be built with a large amount of thought having been
given to making them functionally efficient and practically feasible.

WORKS OF ANANT RAJE

Anant Raje (26 September 1929 – 27 June 2009) was an Indian architect and aca-
demic. Anant Raje was born in Mumbai, India.

27
ARCHITECTURAL PRINCIPLES
 Use of bold materials and very clean geometric shapes and forms

 Blend of exteriors to the interiors

 An experience using the play of textures on the external facades

 Attended to issues of light and ventilation

DESIGN CONCEPT
 His works exhibit integrity between purpose and expression, building and land-
scape, part and whole, and the ultimate quality of all good architects through
time – a sense of repose.

 His works had an excellent understanding of the elements of building, and the
law of construction, that it gave the sense of ordering presence yet it is an order
to enrich by the patina of materials he chooses and sensitivity of light.
 His works had indeed a softness and quality of transcendence.

PHILOSOPHIES
 He always stressed on integration of culture and spiritual well being

 His works always aimed at simplicity and honesty

 His efforts ad designer aimed at process of integration of man, the space

around him and the elements making up the space.

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INDIAN INSTITUTE OF FOREST MANAGEMENT
ARCHITECT : ANANT RAJE
PLACE : BHOPAL
YEAR : 1989

BUILDING : INSTITUTIONAL;

AREA :650000 SQ.M

ARCHITECTURAL STYLE: MODERN

The design of Indian Institute of Forest Man-

agement (IIFM), Bhopal was inspired by the
concept of continuity. Institutions are self-
contained entities, whose growth is nurtured by
a process of self-renewal through the various
stages of their development

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30
BHOPAL DEVELOPMENT AUTHORITY HEADQUARTERS

ARCHITECT : ANANT RAJE

PLACE : BHOPAL, MADHYAPRADESH

YEAR : 1990

BUILDING : GOVERNAMENT OFFICE

BUILDING

AREA :3600 SQ.M

ARCHITECTURAL STYLE : MODERN

 A very close and compact plan not only ensures economy in space utili-
zation, economy in structural design, economy in overall building expendi-
ture, but a meaningful solution to building in a hot and dry climate.

 The volumes of the buildings in this complex are progressively growing in

height in direct response their functional needs and the forms of building

expressing their wilful character.

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WORKS OF B.V.DOSHI

Pioneering in the low-cost-housing,

Doshi has led the evolution of contemporary Indian architecture.
Doshi applies Modernists concepts to an Indian context, and he has developed a
theory of the city as an augmentation of layers and overlays. As a result, his work
is a visual feast of diverse mediums, dimensions, and textures.

32
His works … NIFT
,New Delhi;
Amdavad ni Gufa, Ah-
medabad; CEPT, Ah-
medabad;
Sangath, BV Doshi's office, Ah-
medabad; IIM Bangalore

After he completed his studies at J. J.

School of Art, Bombay in 1950 he be-
came a senior designer on Le Corbusier's
projects in Ahmedabad and Chandi-
garh.
His studio, Vastu-Shilpa (environmental design), was established in 1955.

DESIGN PHILOSOPHIES

 Doshi’s ideas are not borrowed, but they come from an open minded – though
deliberate – assimilation of influences. “Le Corbusier was like a guru to me,” he
says. He taught me to observe and react to climate, to tradition, to function, to
structure, to economy, and to the landscape.

 “And because he was my guru, I decided that I could not copy him.”
 A deep understanding of the past and a comfortable relationship with the
present was the only way that India could invent a sustainable future for her-
self, was their belief.

SANGATH, AHEMEDABAD

Sangath" is a design laboratory where professionals from diverse disciplines are invited
to explore new visions, concepts and solutions integrating arts, crafts, engineering and
philosophy of life. Sangath to see that each individual in the coming millennium is
benefited from its visions and design solutions.

33
Skylights, which are projected masses
from the roof, reflect the light on the
white inner wall surface, which
further radiates light into the room.

Innermost spaces are lit up

through small cutouts in the
roof slab, which are then filled
with hollow glass blocks that
take away the glare and
transmit diffused light.

34
35
HUSSAIN DOSHI GUFA, AHMEDABAD
 An underground art gallery in Ahmedabad, it exhibits works of the famous artist
Maqbool Fida Hussain. The gallery represents a unique juxtaposition of architec-
ture and art.

 The cave-like underground structure has a roof made of multiple interconnected

domes, covered with a mosaic of tiles.

On the inside, irregular tree-

like columns support the
domes.

The gallery is called gufa

("cave" in Gujarati) be-
cause of its resemblance
to a cave.

It was known earlier as Hussain-

Doshi ni Gufa, after its

architect, B.V. Doshi, and

the artist, M.F. Hussain.

Later it was renamed after the city of Ahmedabad, known locally as Amdavad.

36
The structure's contemporary architecture draws on ancient
and natural themes.

The domes are inspired by the shells of tortoises and by

soap bubbles.

The Buddhist caves of Ajanta and Ellora inspired Doshi to de-

sign the interior with circles and ellipses, while Hussain's wall
paintings are inspired by Paleolithic cave art.

The mosaic tiles on the roof are similar to those found on the
roofs of the Jain temples at Girnar, and the mosaic snake is
from Hindu mythology.

37
WORKS OF CHARLES CORREA

38
KANCHENJANGA APARTMENTS

39
40
 UNIT II - AFTER MODERNISM I

CONTENTS

 Conditions of post modernism after 1960s

1. The realms of economics
2. Technology
3. Culture
4. Society
5. Environment
 Critique of Modernist cities by Jane Jacob
 Theories and works of ChristopherAlexander
 Aldo Rossi - Ideas on the city - Neorationalism
 Semiology and Postmodernism
 Writings of Venturi
 Works of:
1. Venturi
2. Scott brown
3. Graves
4. Moore
POST MODERNISM – A reaction against MODERNISM

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 Le Corbusier and Ludwig Mies van der Rohe.

The movement was given a doctrine by the architect and architectural theorist Robert Ven-
turi in his 1966 book Complexity and Contradiction in Architecture.

The style flourished from the 1980s through the

1990s, particularly in the work of Venturi, Philip
Johnson, Charles Moore and Michael Graves.

Postmodern architecture often breaks large

buildings into several different structures and
forms, sometimes representing different functions
of those parts of the building.

With the use of different materials and styles, a

single building can appear like a small town or
village. An example is the STADITSCHES MUSEUM by Hans Hollein in Munich (1972–74).

CONDITIONS OF POST MODERNITY

Post modernity in architecture is generally thought to be heralded to architecture in response
to the formalism of the International Style of modernism.

It demonstrates MODERNIST architecture with its steel support beams and functionality, but its

mixture of influences and lack of decoration are considered to make it POSTMOD-

ERNIST. Post modernity in architecture is generally the return of "wit, ornament and
reference".
 Functional Divorced aesthetics style New ways of viewing
Shape of Mod- collide form is adopted for familiar styles and
ern style its own sake space abound

People viewed Modernism as boring, Architects started turning away

unwelcoming and unpleasant approach from modern functional-
ism
Reintroducing orna-
Post Client’s Sensitivity to the
ment and decoration
Modernism Requirement building context
for its own sake

CANONIZATION OF POST MODERNISM

The term postmodernism architectural movement that emerged in the 1960s, became
prominent in the late 1970s and 80s, and remained a dominant force in the 1990s. Postmod-
ern architecture includes

The incorporation of historical details in a hybrid rather than a pure style by

 The use of decorative elements

 More personal & exaggerated style

 References to popular classical modes of building
Form was no longer defined only by its functional requirements it now could be anything the
architect pleased. It replaced the functional and formalized shapes seen in the modernist
movement by:

 The use of diverse aesthetics,

 Different styles colliding,

 Form is adopted for its own sake and

 New ways of viewing familiar styles

 Post modernists did not believe to ignore past architecture but looked to it in order to
learn from it. They began to see classical designs such as pillars, torches, arches, and
domes used in new, almost humorous ways, just to send a message to the modernist
people.
VARIOUS POST MODERN DIRECTIONS IN ARCHITECTURE

It is known for the re-emergence of surface ornament, reference to its surrounding buildings,
and historical references. Moves away from the neutral white colours seen in modernism.

 Nonlinearity: Multiple styles, multiple goals Examples:

1. Commercialism vs. anti-Commercialism

2. Commercialism vs. Equality

3. Violence vs. Peace

 Influence of digital technology

 Inclusion of World cultures

 Visual culture: Fine art, craft, advertising

 Visual studies: Combination of visual culture and social theory

POST MODERN DIRECTIONS

In the late 1990s it divided into a multitude of new tendencies, including

HIGH-TECH NEO-CLASSICISM
ARCHITECTURE (USED CLASSICAL STYLES IN DECONSTRUCTIVI
(“INSIDE OUT” APPROACH - THE NEW COMBINATIONS: PILLARS,
SM (USE OF NON-
PIPES, SUPPORTS & SERVICES TOURETTES, ARCHES, DOMES,
ORTHOGONAL ANGLES
ARE EXPOSED, COLOR IS USED CURTAIN WALL FACADES;GREEK
AND UNUSUAL SUR-
WITH A PURPOSE) AND ROMAN CONVENTIONS)
FACES)

WORKS OF MICHAEL GRAVES

 He was an American architect and prin-

cipal of Michael Graves and Associates
and Michael Graves Design Group.

 Graves, who was one of The New York

Five and a member of the Memphis
Group, is best known first for
his modern and postmodern building de-
signs.
  Graves worked as an architect in public practice designing a variety of buildings that
included private residences, university buildings, hotel resorts, hospitals, retail and com-
mercial office buildings, museums, civic buildings, and monuments.

 During a career that spanned nearly fifty years, Graves and his firm designed more than
350 buildings around the world, in addition to an estimated 2,000 household products. Some
of his best-known public commissions are
1. The Portland Building in Oregon and

2. The Humana Building in Kentucky, became iconic examples of Postmodern

architecture.

3. Denver Public Library, Colorado

4. National Museum of Prehistory, Taiwan

5. Tajima Office Building, Tokyo,

PORTLAND BUILDING, OREGEON

 Graves designed some of his most iconic build-
ings in the early 1980s, including the Portland
Building.

 The fifteen-story Portland Municipal Services Build-

ing, his first major public commission, opened in
1982 in downtown Portland, Oregon.

 The celebrated but controversial municipal office

also became an icon for the city of Portland and
subject to an ongoing preservation debate.

 Regarded as the first major built example of postmodern architecture, the Portland
Building was added to the National Register of Historic Places in 2011. Although it
faced demolition in 2014, the city government decided to proceed with a renova-
tion, estimated to cost $195 million.
 Speckled with smallish square windows, masses of deep colors— browns, blues, and a
rusty red.
 A stylized garland of blue ribbons (rendered in concrete) decorates one side while a
huge statue of a woman, Portlandia, added in 1985, dominates the main entrance."
Location: - Portland, Oregon

Date : - 1980

Building Type: Government offices

Context: - Urban

Style: - Post-Modern

15-story municipal office building

Graves aspired for the building to be imbued with lofty

symbolism, the project was compromised from the
start by a tight budget and construction schedule. It
was built for a modest $22.4 million dollars.

 Portland City Hall and contains offices for many of the city's public agencies, with rentable
office space on the top floors and a food court in the base.

 The blocky edifice is dominated by highly

abstracted classical elements – including
columns, pediments, and a frieze-like deco-
rative band – all set amid

 A grid of small square windows. A teal-

coloured podium encompasses the en-
trance level, and features a Classically-
styled sculpture of a woman called
Portlandia, by artist Raymond Kaskey, above
the front doors.

 Facade design reflected classical, anthro-

pomorphic orders representing the base, the
body, and the head.

 It suffers from extensive water infiltration

and structural issues, and city commissioners
have called it a "white elephant" and con-
sidered demolishing it; as of 2015, city offi-
cials are considering spending $175 million
to fully renovate the building. Michael
Graves fiercely opposed demolition.
DENVER CENTRAL LIBRARY
 Graves’ implemented traditional post-
modern motifs of abstracted classical
forms, natural materials, and colors com-
monly found in past centuries.

 It stands as the 8th largest library in

the United States, as well as the
largest library between Chicago
and Los Angeles, attracting over a
million visitors each year.
 Graves made addition to the original library
building. Graves’ addition and the original li-
brary are two parts in a larger composition that
are connected by a three story atria. The ex-
pansive atrium serves as a new main entrance
that becomes the main focal point for visitor
orientation and circulation to either wing of the
library.
 For a post-modern building, the interior of the library is fairly conservative when it comes to the
decorative aesthetics.

 Most of the spaces appear as traditional library spaces composed of natural

wood evoking a sense of grandeur and extravagance. Only in the reading
rooms is there any trace of the post-modern aesthetic.

 One begins to understand the abstracted colonnades, vaulting, and colorful paint-
ing. The library functions as a community gathering space consisting of multipur-
pose rooms, meeting facilities, shops, a café, and a special “museum-like” collec-
tion on the American
West
.
WORKS OF CHARLES MOORE
 He was an American architect, educator,
writer, Fellow of the American Institute of
Architects, and winner of the AIA Gold
Medal in 1991.

 A leading American architect of 60’s, 70’s &

80’s, one of the founding fathers of post
modernism. He was teaching at Yale Uni-
versity along with James Stirling and Kevin
lynch during 60’s.

 Moore preferred conspicuous design features, including loud color combinations, su-
per graphics, stylistic collisions, the re-use of esoteric historical-design solutions, and the
use of non-traditional materials such as plastic, (aluminized) PET film, platinum tiles,
and neon signs, As a result, his work provokes arousal, demands attention.
 He used classical elements in his design extensively. His intention was to convey cer-
tain theme. Also used modified version of classical elements. The colours used by him
were both complementary as well as contrast colours. Some of his works are

1. Orindo House – “Moore’s House”, San Francisco.

2. Moore's Piazza d'Italia (1978), an urban

public plaza in New Orleans.

ORINDO HOUSE, SAN FRANCISCO (1962)

 Orinda House, also known as “Moore House” is lo-

cated in a valley behind San Francisco, was de-
signed by architect Charles W. Moore for himself
and built in 1962. The small project is based on simple
geometry and on the archetypal square plan to
create a direct relationship with architectural arche-
types such as the primitive hut or a Hindu temple.
  A pyramidal roof with a flat sky window
on top emerges from the outside walls
and is supported by a combination of
elements: a ring of beams laid on the
exterior walls and some of the wooden
columns inhabiting the interior space,
while the whole house rests on a simple,
concrete foundation.

 In this building, he used two forms re-

sembling “BALDACHINS” (A CANOPY
BUILT ABOVE THE
ALTAR IN THE EARLY CHURCHS) around
one big baldachin activities such as liv-
ing, dining, bedroom, etc. were organ-
ised. Under one small baldachin his bath-
ing space was organised.
PIAZZA D’ITALIA, NEW ORLEANS
(1974-1978)
This is the plaza designed for the peo-
ple of Italian origin.

 This plaza was laid out in concentric circles, at the heart of which lies Sicily (the southern
island of Italy), here represented by an elevated platform, and washed by the waters of
the fountain.

 Behind this is a monumental construction of columns brilliantly

coloured and finished with posh materials.

 The theme of this plaza is to reflect the greatness of Italian

renaissance– reason being this
plaza was built for people
of Italian origin.

 Colonnades, arches and a bell

tower are arranged in a curving
formation around a fountain.
 The layers of structures are brightly coloured, trimmed in neon and metallics, and orna-
mented with various classical orders.

 The paved surface of the plaza is equally embellished and textured.

1. Uplighting and neon accents animate the space at night.

2. Fountains of Moore's own likeness spew water from their mouths,
pursed in gleeful smiles, in arcs on the plaza.
3. Moore insisted his colourful, cartoonish piazza was a joyful tribute. It
was a monument to the achievements of Italians, so it references Italian
culture directly.

WRITINGS OF JANE JACOBS

She was an American-Canadian jour-
nalist, author, and activist who influenced
urban studies, sociology, and economics.

Her book The Death and Life of Great Ameri-

can Cities (1961) argued that urban renewal
did not respect the needs of city- dwellers.

It also introduced the sociological concepts

"eyes on the street" and "social capital". Jane
Jacobs Spent Her Life Studying Cities. Her
Books Include:

 The Death And Life Of Great American Cit-

ies
 The Economy Of Cities
 Cities And The Wealth Of Nations
 Systems Of Survival
 The Nature Of Economies
 Dark Age Ahead.

“Cities have the capability of providing something to everybody, only because, and
only when, they are created by everybody.” – JANE JACOBS
DEATH AND LIFE OF GREAT AMERICAN CITIES

The Death and Life of Great American Cities Re-

mains One Of The Most Influential Books In The His-
tory Of American City Planning.

It Introduces Terms Like "Social Capital", "Mixed

Primary Uses", And "Eyes On The Street” Which Be-
came Popular In Urban Design, Sociology, And
Other Fields.

She Criticized “The Construction of the World

Trade Center as a Disaster for Manhattan’s Wa-
terfront.”

PART – I deals with

 Influential ideas in orthodox planning, starting from Howard’s garden city, later le
Corbusier devised the radiant city, composed of skyscrapers within a park.

 Jacobs Argues That All These Are Irrelevant To How Cities Work, and Therefore
Moves On To Explain Workings of Cities

 She Explores The Three Primary Uses Of Sidewalks: Safety, Contact, And Assimilat-
ing Children. Street Safety Is Promoted By Pavements Clearly Marking A Pub-
lic/Private Separation “Element Of “Trust”. As The Main Contact Venue, Pave-
ments Contribute To Building Trust Among Neighbors Over Time.
 Moreover, Self-appointed Public Characters Such As Storekeepers Enhance The So-
cial Structure Of Sidewalk Life By Learning The News At Retail And Spreading It. Ja-
cobs Argues That Such Trust Cannot Be Built In Artificial Public Places Such As A
Game Room In A Housing Project...

 Successful, Functional Parks Are Those Under Intense Use By A Diverse Set Of
Companies And Residents. Such Parks Usually Possess Four Common Characteris-
tics: Intricacy, Centering, Sun, And Enclosure. Intricacy Is The Variety Of Reasons
People Use Parks, Among Them Centering Or The Fact That Parks Have A Place
Known As Their Centers. Sun, Shaded In The Summer, Should Be Present In Parks,
As Well As Building To Enclose Parks.
  Jacobs Then Explores A City Neighborhood, Three Levels Are City, Districts, And
Streets, Can Be Identified. Streets Should Be Able To Effectively Ask For Help When
Enormous Problems Arise. Effective Districts Should Therefore Exist To Represent
Streets To The City. City Is The Source Of Most Public Money – From Federal Or
State Coffers.

PART – II deals with

The importance of all kinds of diversity, intricately part two of the book explains the
conditions for city diversity or the economic workings that produce lively cities.

 First, districts must serve more than one primary function to ensure presence of
people using the same common facilities at different times.

 Second, blocks should be short, to increase path options between points of depar-
ture and destinations, and therefore enhance social and as a result economic de-
velopment.

 Third, buildings should be at varying ages, accommodating different people and

businesses which can afford different levels of rents.

 Fourth, there should be a dense concentration of people, including residents, to

promote visible city life. It is important that all of these four conditions are necessary
to generate diversity, and absence of each one would result in homogeny and ul-
timately dullness.

Jacobs refutes the myths about disadvantages of diversity presented in orthodox planning.

 First she argues that diversity does not innately diminish visual order. Conversely,
homogeny or superficially diverse-looking homogeneous areas lack beauty.

 Moreover, diversity is not the root cause of traffic congestions, which is caused by
vehicles and not people in themselves.

 A second category of conceived ruinous uses such as bars and theaters are a
threat in grey areas, but not harmful in diverse city districts.

 The final category includes parking lots, large or heavy truck depots, gas stations,
gigantic outdoor advertising and enterprises harmful due to their wrong scale in
 certain streets. Jacobs suggests that exerting controls on the scale of street front-
age permitted to a use would alleviate such a use.

Part three designated to analyzing four forces of decline and regeneration in city cycles:

1. Successful diversity as a self-destructive factor,

2. Deadening influence of massive single elements in cities,

3. Population instability as an obstacle to diversity growth

4. Effects of public and private money

 Population instability is the third factor in the life cycle of cities. For instance, the rea-
son that slums remain slums is the unstable population of residents there, ready to
get out when they have the choice.

 Therefore, Jacobs suggests that the real slumming process, as opposed to slum shift-
ing through renewal projects or slum immuring practices of orthodox planning, is to
make slum dwellers desire to stay and develop neighborhoods. This could possibly
be done by gradual incremental monies which make continual improvements in the
quality of lives of individual residents of slums.

 The last factor is public and private money. Jacobs argues that money has its limita-

tions, incapable of buying inherent success for cities lacking the success factors. She

classifies money into 3 forms: credit extended by traditional, non-governmental lend-

ing institutions, money provided by government through tax receipts & money from

the underworld of cash and credit.

PART – IV deals with Part four of the book is dedicated to effective tactics to actually

improve city performance. These include:-subsidized dwellings, attrition of automo-

biles as opposed to erosion of cities by cars,

a. Improvement of visual order without sacrificing diversity

b. Salvaging projects

c. Redesigning governing and planning districts.

  Finally Jacobs argues that cities are a prob-
lem of organized complexity. Unlike simple
two-variable or disorganized-complexity
problems of statistical randomness, problems
of organized complexities are composed of
numerous interrelated factors.
 Therefore, horizontal structures in city plan-
ning would work better than vertical struc-
tures, which aim at oversimplifying problems
of such complexity.

As a tribute to Jacobs, the Rockefeller Foundation, which had awarded Jacobs grants
in the 1950s and 1960 announced on February 9, 2007, the creation of the Jane Ja-
cobs Medal, “to recognize individuals who have made a significant contribution to
thinking about urban design, specifically in New York City”
 WRITINGS OF ROBERT VENTURI
He 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.

Venturi is also known for having coined the maxim

"Less is a bore", a postmodern antidote to

Mies van der Rohe's famous modernist dictum "Less is more".

Venturi was awarded the Pritzker Prize in Architecture in 1991.

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.” His notable books are
 Complexity and Contradiction in Architecture

 Learning from Las Vegas

 Selected Essays by him & his group entitled “View from Campidoglio”
ABOUT HIS WRITINGS

His first book “Complexity and Contradiction in Architecture (1966)” received severe crit-
icism but his ideas influenced many in course of time. It was considered to be the be-
ginning of Post-Modern Architecture and used as a reference book for those who be-
lieved it.

An essay in his third publication admired a Scandinavian architect Alvar Alto and
acknowledged the fact that he had drawn inspiration from his work.

In another essay he states “whereas Modern masters strength lay in Consistency, ours
should lie in Diversity. He worked under Louis Kahn and Eero-Saarinen, their influence
can be seen in his ideas.

He is also influenced by Alvar Alto and Le-Corbusier. His works are greatly inspired from
Renaissance masters such as Michael Angelo and Andrea Palladio.
ABOUT HIS STYLE OF ARCHITECTURE

 His Architecture is linked to matter of Social concern and Cultural relevance. History
& all of its formal models inspired his creative ideas.

 His works respond to the context thus each building tends to look very different and
each building learns from its surroundings.

 He always confronted both context and assimilation in a grand setting, i.e. His
buildings are integrated into the site in a harmonious way that they don’t ignore
the surrounding landscape for their own purpose.

 His design incorporate simple forms that are sculptured symbolically.

 He often uses irony (expression of meaning through the use of language which nor-
mally means the opposite) & comedy (jokes & sketches intend to make people
laugh) in the overall scheme of design.

 He draws upon pop art and international style for guidance. His design can be
seen as manipulation of facades which are often monumental & decorative.

 He was arguing for what he called the messy vitality of the built environment as he
puts it – We are calling for an architecture that promotes richness and ambiguity
over unity and clarity, contradiction and redundancy over harmony and simplicity.

 He was challenging modernism with multiple solutions available from history. He

wanted architecture to deal with the complexities of the cities to become more
contextual.

 Also said that architects should deal with allusion (indirect reference to some-
thing) and symbolism (one thing that represent something else) as well as the
reference should be taken from or related to the social and historic context of
the building.
WORKS OF ROBERT VENTURI VANNA VENTURI HOUSE

 Robert venturi designed the

house initially for his mother –
vanna venturi.

 The house is designed around a

chimney that is centralized and
goes all the way to the top of
the house.

 Externally, the house is built

symmetrical. Venturi has distort-
ed this idea of symmetry - for
e.g. there are 5 windows on the
facade of the biding, however
he placed them differently.

 The five room house stands only about 30 feet (9m) tall with a chimney at the top, but
has a monumental front facade.

 A non-structural applique arch and ‘hole in the wall’ windows, other elements, were chal-
lenge to modernist orthodoxy. There is also a basement underneath the house that is of-
ten not covered by people.

 The basic elements of the house are a reaction against standard modernist architectural
elements:

1. Pitched roof rather than flat roof

2. Emphasis on central hearth & chimney
3. Closed ground floor

 On the front elevation the broken pediment or gable & a purely ornamental ap-
plique arch. House is a composition of rectangular, curvilinear and elements coming
together (or sometimes juxtaposing each way that inarguably creates complexity
and contradiction)

 Venturi experimented with scale inside the house certainly ‘too big’. Venturi also mini-
mized circulation space in the design of the house.
WRITINGS OF ALDO ROSSI

He was an Italian architect and designer who

achieved international recognition in four dis-
tinct areas: architectural theory (writings),
drawing, design and product design.

He was the first Italian to receive the Pritzker

Prize for architecture in 1990. He felt that eve-
ry city is an expression of architecture. Also
deals with urban facts: - The actual physical
objects of which cities are made.

He studied the building typology in relation to

a city, then used the idea of type to establish
the basic continuity that underlies the appar-
ent diversity of individual urban facts.

He asserts that one should refer to pre-

industrial revolution

cities
for understanding city and building typologies. Some of
his books areThe Architecture of the City
 Analogical City
 Critique of functionalism and modernism's utilitar-
ian basis.
 Autonomous monuments and the permanence of form
 A city of fragments, a city monuments
 The memory structure of the city
ARCHITECTURE OF THE CITY

His book “Architecture of the city “was written in Italian in 1966 and pub-
lished in English in 1982. This can be divided into four parts:

PART – I deals with - Defining his terms, descriptions and classification of typology of cities.

PART – II deals with - Structure of the city as a whole was discussed. Different elements
of the city that determines the structure of the city were identified and analyzed.

PART – III deals with – The architecture of the cities and analyzes the location & sites
on which the cities were developed and how they influenced the architecture of
the cities.

PART – IV deals with – Identifying the problems caused by urban growth dynamics and
their impact on architecture of the cities. This part also deals with the politics of choice
applicable to matters pertaining to urban development.
HIS VIEW ON ARCHITECTURE

Logical development of architectural forms

by a will to rational expression, realized in
an architecture of simple geometric forms:

Perfect circles, squares and triangles all projected

as necessary into third dimension.
Rossi’s design strategy was situated between what he
called
“inventory & memory” involved the deliberate fusion of
earlier types.
One should transcend functionalism by an analogical mode
of design.

He was influenced by the French

neo- classical architects of late 18th
century who practiced abstract
geometric style such as Boulee
who designed the spherical mon-
ument to the scientist Issac New-
ton.

Each of rossi’s design whether

 an office complex,
 Hotel,
 Cemetery,
 A floating theatre,
 An exquisite coffee pot or even
 Toys captures the essence of purpose.
 WRITINGS OF CHRISTOPHER ALEXANDER

He is a widely influential American ar-

chitect and design theorist. His theories
about the nature of human- cen-
tered design have affected fields be-
yond architecture, including urban de-
sign, software, sociology and others.

Alexander has designed and personal-

ly built over 100 buildings, both as an
architect and a general contractor

In software, Alexander is regarded

as the father of the pattern lan-
guage movement. The first wiki—the
technology behind Wikipedia—led di-
rectly from Alexander’s work.

In architecture, Alexander's work is used by a number of different contemporary

architectural communities of practice. Alexander is controversial among some
mainstream architects and critics, in part because his work is often harshly critical of
much of contemporary architectural theory and practice. Some of his books are

 Notes on the Synthesis of Form (1964)

 A city is not a tree (1965)
 A Pattern Language (1977)
 The Timeless Way of Building (1979)
 The Nature of Order (Part 1-4) (2002-2005)

Much of his work has been based on inventions in technology, including, especial-
ly, inventions in concrete, shell design, and contracting procedures needed to at-
tain a living architecture.

A PATTERN LANGUAGE (1977)

A Pattern Language: Towns, Buildings, Construc-

tion is a 1977 book on architecture, urban design,
and community livability.

The work originated from an observation that many

medieval cities are attractive and harmonious. The
authors said that this occurs because they were built
to local regulations that required specific features,
but freed the architect to adapt them to particular
situations.
The book creates a new language, what the authors call a pattern language de-
rived from timeless entities called patterns. As they write on page xxxv of the intro-
duction, "All 253 patterns together form a language." Patterns describe a problem
and then offer a solution.

According to Alexander & team, the work originat-

ed from an observation that

At the core […] is the idea that people should design for themselves their own hous-
es, streets and communities. This idea […] comes simply from the observation that
most of the wonderful places of the world were not made by architects but by the
people.

The book uses words to describe patterns, supported by drawings, photographs and
charts. It describes exact methods for constructing practical, safe, and attractive de-
signs at every scale, from entire regions, through cities, neighborhoods, gardens,
buildings, rooms, built-in furniture, and fixtures down to the level of doorknobs.

Some patterns focus on materials, noting that some ancient systems, such as
concrete, when adapted by modern technology, may become one of the best
future materials: - We believe that ultra-lightweight concrete is one of the most
fundamental bulk materials of the future.

Other patterns focus on life experiences such as the Street Cafe (Pattern 88):- The
street cafe provides a unique setting, special to cities: a place where people can
sit lazily, legitimately, be on view, and watch the world go by […]. Encourage lo-
cal cafes to spring up in each neighborhood. Make them intimate places, with
several rooms, open to a busy path, where people can sit with coffee or a drink
and watch the world go by. Build the front of the cafe so that a set of tables
stretch out of the cafe, right into the street.

A notable value is that the architectural system consists only of classic patterns
tested in the real world and reviewed by multiple architects for beauty and prac-
ticality.

The idea of a pattern language appears to apply to any complex engineering

task, and has been applied to some of them. It has been especially influential in
software engineering where patterns have been used to document collective
knowledge in the field.

EISHIN SCHOOL @ TOKYO, JAPAN (1985-1990)

HOUSE @ MEXICO (1975-1976) Soil-Cement Block & Light weight Con-

crete (Vaulted Roof)
 UNIT III - AFTER MODERNISM II

CONTENTS

 Urban Ideas and Works of

 Soleri - Archigram

 Metabolism

 High Tech architecture

 Works of James Stirling

 Works of Richard Rogers and

 Works of Renzo Piano

 Deconstructivist theory and practice

 Works of Peter Eisenmann

 Works of Zaha Hadid

 Works of Frank O Gehry

 Works of Daniel Libeskind

 Works of Bernard Tschumi

HIGH TECH ARCHITECTURE
The term ‘high tech architecture’ was coined following
the publication of High Tech: The Industrial Style. High-
tech architecture, also known as Late Modernism or
Structural Expressionism.

It is an architectural style that emerged in the 1970s, in-

corporating elements of high-tech industry and technol-
ogy into building design. This category serves as a bridge
between modernism and post-modernism.

In the 1980s, high-tech architecture became more diffi-

cult to distinguish from post-modern architecture. Some
of its themes and ideas were later absorbed into the style
of Neo- Futurism art and architectural movement.

The industrial elements are

not only used to give indus-
HSBC HEAD QUARTERS
trial appearance but at the
same time it solve
practical and logical purpose too – they are ordered logically
to solve the design problem

Similar to Brutalism, Structural Expressionist buildings reveal their

structure on the outside as well as the inside. There can be no
more illustrious example than Pompidou Centre. The ventilation
ducts are all prominently shown on the outside.

Acrylic glass stabilized by steel cables used for the first time
large scale

 Services are often positioned

externally, and the whole ef-
fect is to create a high- quali-
ty,high-impact industrial look
that rebels against historicism
and antiquity.
 Norman Foster and Richard Rogers
were the key architects who brought
about these changes and imple-
mented them from the 1970s.

High Tech buildings are character-

ized by EXPOSED STRUCTURES (usu-
ally of steel and or other metals),
EXPOSED SERVICES (pipes and air
ducts etc.), A SMOOTH, IMPERVIOUS
SKIN (often of glass) and a FLEXIBILITY
TO CREATE INTERNAL SERVICE
POMPIDOU CENTRE ZONES, rather than rooms or se-
quences of rooms.

What to look for in a HIGH TECH BUILD-

ING:

Steel and glass Flex-

ible interiors

Expressed construction

Color used for pipework and services

Lightweight materials

Structural expressionism seeks to re-

veal structure, embracing a kind of
skeleton-as-exterior aesthetic.

HSBC HEAD QUARTERS – designed by

NORMAN FOSTER

47 stories 180 meters high urban legend

Steel module to enable dismantling

Natural lighting through glass panel

Flooring – removable panel

Statue square – to view Victoria harbor

WORKS OF JAMES STIRLING
He was a British architect. Much influenced by his friend
and teacher, the important architectural theorist and
urbanist Colin Rowe.

He won the prestigious Pritzker Prize, 1981. Some of his works are

 Melville Hall, St Andrews, 1960

 Engineering Building, Leicester, 1963
 History Faculty Library, Cambridge, UK, 1967
 Neue Staatsgalerie, Stuttgart, 1983
 Clore Gallery, London, 1987

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 consid-
ered by many to be his most important work.

HISTORY FACULTY LIBRARY, CAMBRIDGE, UK, 1967

Location: England
Date 1964-1970

 Building Type :Academic li-

brary and offices
 Construction System: Glass in
steel frames, concrete with brick
cladding
 Climate: Temperate
 Context: park campus
 Style: Modern
 Structural engineers: F. J.
Samuely & Partners. Service en-
gineers, R. W.
 Gregory & Partners. Quantity
surveyors, Monk & Dunstone.
 The L-shaped block acts as a but-
tress stabilizing the thrust from the
sloping roof and the total building
is a stable but asymmetrical
grouping resolving (and indicat-
ing) the various structural thrusts
In view of its eventual focal position it was and forces.
necessary to provide multidirectional ap-
proaches. There are four entrances, two at
ground level, with separate entrance lobbies
connected by the corridor adjacent to the
reading room.

At the front of the building there is also an

approach by ramp to the staff entrance,
and at first floor there are minor entrances
(fire escape) at the ends of the L-shaped
block adjacent to the common rooms; these
can be used by students and staff.
The accommodation includes a reading room for 300 (12,600 sq ft of shelving) which
accounts for approximately half the floor area of the building.
 Staff rooms
 Seminar rooms
 Common rooms

The entrance exit to the reading room opens directly into a control and enquiry area where
the catalogues are housed. The book stack is on two levels and the shelving units fan radially on

sight lines from the control-desk, which thus has total supervision of the reading room and book
stack.
The reading room seating is either in specialist reading bays (12 ft ceiling height and
clerestorey windows) or at large tables in the main space. Beyond the book stack
there is a continuous bench top also for student use.

The building was completed in 1968 and

awarded a R.I.B.A. (Royal Institute of Brit-
ish Architects) Gold Medal in 1970. That
engage merit begins with the creation of
a satisfactory life-support system of heat,
light and ventilation, such as has been
Discussed.
 The brick and tile surfaces with all those neat gutters and corners till plinth and balus-
trades re-appear at Cambridge, so does a large acreage of standardized industrial
glazing, and so even do chamfer-
 corner stair-towers in the upper part that is of 75% coverage.
 Widely contrasting surface treatments - blank brick, smooth glazing, angled glazing,
north-light glazing, free-form glazing - each of which tended to be used on only one
type of functional volume.
 Relatively unassertive format, without any very strong projections or major breaks of
its silhouette.
 The under skin of glazing is translucent, producing shadow less natural light on the
reading room tables. Continuous horizontal windows set into the corridor walls ap-
pear under the roof and run
 around the upper floors above the reading room.
 The corridor windows and the laybys, which project into the air space of
the reading room, allow students in the upper floors to maintain a visual
but nonintrusive contact.
 The projecting stair-towers and the end walls are explicit about vertical circulation
and sectional organization.
 Internally surfaces are sound absorbing walls and ceilings and cork flooring..
 The reading room side of these walls are veneered in fibrous plaster with a closer fre-
quency of sound absorption slots at the lower levels where they are most required.
 Has the specially designed diagonal north-lighting, Cambridge has a specially-
designed giant skylight over the reading room of the Seeley library.
 In winter with all the louvers in the vertical steps of the pyramid closed, the
trapped air can be held fairly still as an insulating blanket to reduce heat-loss. In
summer, with all the louvres open, external
 wind-pressure can combine with internal stack-effects to sweep out heated air from
 under the upper layer of glass.

WORKS OF RICHARD ROGERS

He is a British architect noted for his modernist and func-
tionalist designs in high-tech architecture.

Rogers set up the architectural practice, Team 4 Architects

(1963-1967), in conjunction with his colleague Norman Foster
(who had been a fellow student at Yale).This practice es-
tablished the reputations of both Rogers and Foster for
housing projects and for industrial buildings.

In 1967 Foster and Rogers went their separate ways, and

Rogers joined the Italian architect Renzo Piano to win the
competition for the Pompidou Centre in Paris in 1971. The
partnership with Piano ended in 1977, and Rogers founded his
present practice, the Richard Rogers Partnership. His
most celebrated buildings are

 the Pompidou Centre, Paris 1972-78) and

 Lloyds building, (1979-84).
 INMOS factory, Newport, South Wales (1980-82)
 PA Technology Center, Princeton, New Jersey (1982)
 London European Court of Human Rights, Strasbourg (1984)
 Millennium Dome, London (1999)
 He is a winner of the RIBA Gold Medal, the Thomas Jefferson Medal, the RIBA Stirling Prize, the
Minerva Medal and Pritzker Prize.

WORK PHILOSOPHY

Sustainable urban regeneration- The compact sustainable city is multi-cultural with a hierarchy
of density, has a mix of uses and tenures, is well connected with a coherent public transport,
walking and cycling infrastructure, is well designed both in terms of public spaces and build-
ing, and is environmentally responsive.

Public domain- Buildings and their surrounding spaces should interrelate and define one an-
other, with external spaces functioning as rooms without roofs. It is the building's scale and re-
lationship with the street or square that helps to encourage public activity and create a peo-
ple-friendly environment.

Legibility- To create a more subtle world between solid and transparent, a sequence of
spaces where the eye is lead through overlapping strata, where light and shadow enhance
the impression of transparency.

Flexibility- Open ended, adaptable frameworks with large, well-serviced and well-lit floors,
on the other hand, offer the possibility for a long life span for the building and a variety of
possible uses. For functional reasons a clear zoning between servant and served spaces is
created within a building.

Energy- He employs a holistic approach to the physical form of each building, from the
massing, orientation, and the arrangement of its constituent parts, in order to ensure a re-
sponsible approach to the buildings' overall environmental performance.

LLOYDS BUILDING 1979-84

City and context

The new development contributes positively

to the dense medieval street environment
that characterizes the City of London, rein-
forcing the pattern implicit in the street lay-
out.

Legibility

In defining a strategy and not a building, a

legible system was developed that broadly
allocated zones, defined movement and
levels so that areas could change in an or-
derly basis without disrupting the business.
The highly articulated service towers around
the perimeter lend an immediate sense of
order and hierarchy to the building’s ap-
pearance.

Public Realm

The ground level acts as a public space, encouraging workers and tourists into the build-
ing, where a coffee house and wine bar contribute to the life of the surrounding streets.

Energy

The design greatly increases the quality of the internal working environment, with access to
natural light and ventilation from the perimeter. The all-glass facade contributes dynamically
to the energy efficiency of the building, using the triple glazing as a return

KEY FEATURES

The building emerged as a forceful and highly individual presence in the urban landscape.

All vertical movement within the Room is by a central escalator system, providing easy and
open access to the first four levels

The third material that characterizes the external appearance of the building is glass, triple
glazing incorporating rolled glass is used to achieve a sparkling quality that contrasts with the
soft sheen of the stainless steel.
The essence of the Lloyd's servicing system is the use of the atrium form, concrete structure
and triple- glazed cladding as active elements

POMPIDOU CENTRE, PARIS (1972-1978)

Rogers subsequently joined forces with Italian architect Renzo Piano, a partnership that was
to prove fruitful. His career leapt forward when he, Piano and Gianfranco Franchini won the
design competition for the Pompidou Centre in July 1971.

WORKS OF RENZO PIANO

He is an Italian architect and engineer. In 1971, he

founded the ‘Piano & Rogers’ agency with Richard
Rogers.

His notable buildings include the Centre Georges Pom-

pidou in Paris (with Richard Rogers, 1977),
IBM travelling pavilion, New York (1984)
Kansai International Airport, Osaka (1990)
New Metropolis, Amsterdam (1997)
The Shard in London (2012), and
The Whitney Museum of American Art in New York
City (2015).
He won the Pritzker Architecture Prize in 1998.

WORK PHILOSOPHY
The "high tech" style in architecture is easily identified
by its imagery — revealed structure, exposed ducts,
and machine-precision aesthetics. When they had to
be hidden, physical requirements for space arose.
But when they were taken ‘inside out’, greater care
was given to how they worked, what they did and
how they were deployed.

Like most works designed by members of the "High-

Tech" movement, Piano established technology as a
starting point for his designs.

He is an absolute master of light and lightness. He designs his roofs to pull light in. He has
a fantastic understanding of construction and the scale of pieces. He works from small
to big. He believed in elegantly expressed humanistic architecture.
His buildings are widely heterogeneous in nature. This arises from the need for each de-
sign to be right for the specifics of the situation from which it emerges, as if naturally and
inevitably, hence the diversity and perpetual freshness of his designs.

He tries to, as far as possible, use locally available materi-

als, technology, craft, form, etc.

POMPIDOU CENTRE, PARIS (1972-

1978)

The building was originally jointly de-

signed by Piano along with Richard
Rogers. The center is situated on a
five-acre plaza between the Louvre
and Notre Dame.

All the functions of the building, includ-

ing the walkways and the plant sys-
tems, have been moved to the out-
side and are characterized by a dif-
ferent color, so as to obtain a vast to-
tally uncluttered area inside.

A million square foot Cultural Centre to consist of four major specialist activities: Museum of
modern art, a Reference library, Centre for industrial design and a Centre for music and
Acoustic research. Areas for office administration, book
shops, restaurants, cinemas, children's activities and
car parking were also to be included

It takes its form from a metaphor of the cultural

machine' with all color-coded service elements and
structure emphasized on the building's exterior.

In the architecture of Renzo Piano, we glide

through tubes of never-ending space. Paris spreads
out before visitors as they ascend the escalator in-
side a transparent cylinder clipped to the side of the
Pompidou Center.

It turned architecture inside-out, since in the

new museum, the apparent structural frame
 of the building and the heating and air con-
ditioning ducts were on the exterior, painted
in bright colours. The escalator, in a trans-
parent tube, crossed the facade of the
building at a diagonal.

DECONSTRUCTIVISM
Deconstructivism is a development of postmodern
architecture that began in the late 1980s.

The term "Deconstructivism" in contemporary archi-

tecture is opposed to the ordered rationality of
Modernism and Postmodernism.

Deconstructivism, wanting to "disassemble" archi-

tecture. Deconstructivism rejected the postmodern
acceptance of such references, as well as the idea
of ornament as an after-thought or decoration.
It is characterized by fragmentation, an interest in manipulating a structure's surface, skin,
non- rectilinear shapes which appear
todistort and dislocate elements of
architecture, such as structure and
envelope.

The finished visual appearance of

Buildings that exhibit deconstructivist
Styles is characterized by unpredictabil-
ity and controlled
chaos.

Addition to Oppositions, it created

Complexity and Contradiction in architecture. It argues
against the purity, clarity and simplicity of
modernism. Rationalism of design was dismissed but the functionalism of the building was still
somewhat intact.

Destroys right angle and cube by using

diagonal line. Rejects the idea of perfect
form, regularity. Rejects familiar relationship
between certain forms and certain activity.

1. The new slogan was "form follows fantasy"

analogous to the tradition formula pro-
nounced by Sullivan "form follows func-
tion".

In 1988 Philip Johnson organized an exposi-

tion called "Deconstructive Architecture”.
Those ideas even had a philosophical base
developed by Jacques Derrida.
WORKS OF PETER EISENMAN
He is an American architect, considered one of the New York
Five, Eisenman is known for his writing and speaking about archi-
tecture as well as his designs, which have been called high
modernist or deconstructive.

His earlier houses were "generated" from a transformation of

forms related to the tenuous relationship of language to an un-
derlying structure.
Eisenman's latter works show a sympathy with the
ideas of deconstructionism.
CONCEPTS: TECHNIQUES:
METHOD:
Artificial excavation Shear & Inter-
• Historical reading of the site
Tracing ference Inter- – Superposition
• Deformation strategy
Layering section Distor-
– Diagrammatic image
Deformation tion • Elaboration
– Design
Diagrammatic imageScaling
 Add to superposition
 Deform composition
Model
DIAGRAMMATIC IMAGE:
Diagrammatic model
Physical scale model Additional elements
Computer model Outside architecture
Related to project
Informing and deforming
 House VI (Frank residence), Cornwall, Connecticut. Design: 1972-1975
Wexner Centre for the Arts, Ohio State University, Ohio, 1989
Nunotani Building, Tokyo, Japan, 1991
Greater Columbus Convention Centre, Ohio,1993
Memorial to the Murdered Jews of Europe, Berlin, 2005
University of Phoenix Stadium, Glendale , Arizona, 2006

HOUSE VI – FRANK RESIDENCE

(1972-1975)

House VI, or the Frank Residence, is a sig-

nificant building designed by Peter Eisenman,
completed in 1975.

Rather than form following function or an aes-

thetic design, the design emerged from a con-
ceptual process, and remains pinned to that
conceptual framework.

The building is meant to be a "record of design process,"

where the structure that results is the methodical manipula-
tion of a grid.

To start, Eisenman created a form from the intersection of

four planes, subsequently manipulating the structures again
and again, until coherent spaces began to emerge.

The envelope and structure of the building are just a mani-

festation of the changed elements of the original four slabs,
with some limited modifications.

The use of the red stairs in House VI is somewhat odd. It is

an upside down stairs, marked red, which functions only as to
divide the building and provide the house with symmetry.

The purely conceptual design meant that the architecture is

strictly plastic, bearing no relationship to construction tech-
niques or purely ornamental form.
 HOUSE - VI

WORKS OF ZAHA HADID

She was an Iraqi-British architect. She was

the first woman to receive the Pritzker Ar-
chitecture Prize, in 2004. She received the
UK's most prestigious architectural award,
the Stirling Prize, in 2010 and 2011.

She was described as THE 'QUEEN OF THE

CURVE', who "liberated architectural ge-
ometry, giving it a whole new expressive
identity." have contributed in conceiving
the architectural form and space from
new, innovative and futuristic perspective.
Her major works include
Vitra Fire Station (1991–1993)

Bergisel Ski Jump (1999–2002)

The aquatic center for the London 2012 Olympics,

Glasgow Transport Museum, Glasgow, Scotland (2007-2009)

BMW Central Building Germany, (2005)

VITRA FIRE STATION (1991-1993)

Her radical design, made of raw con-

crete and glass, was a sculptural work
composed of sharp diagonal forms
colliding together in the centre.

The design plans appeared in architec-

ture magazines before construction.

When completed, it never served as a

fire station, as the government re-
quirements for industrial fire fighting
were changed.

It became an exhibit space instead,

and is now on display with the works of
Gehry and other well-known archi-
tects.

It was the launching pad of her architectural career.

BERGISEL SKI JUMP (1999–2002)

Her next major project was a ski jump at Bergisel, in

Innsbruck Austria. The new structure was to contain
not only a ski jump, but also a cafe with 150 seats of-
fering a 360- degree view of the mountains.

Hadid had to fight against traditionalists and against

time; the project had to be completed in one year,
before the next international competition.

Her design is 48 metres high and rests on a base seven metres by seven metres. She described it as "an organic
hybrid", a cross between a bridge and a tower, which by its form gives a sense of movement and speed.
 WORKS OF FRANK O GEHRY
He is a Canadian-born American archi-
tect, residing in Los Angeles. A number of
his buildings, including his private resi-
dence, have become world-renowned at-
tractions.

His works are cited as being among the

most important works of contemporary
architecture in the 2010 World Architec-
ture Survey and labelled him as "the
most important architect of our age".

He has been assessed as someone who

"made us produce buildings that are fun,
sculpturally exciting, good experiences”.
Gehry's best-known works include

the titanium-clad Guggenheim Museum in Bilbao, Spain;

Walt Disney Concert Hall in downtown Los Angeles;

Museum of Pop Culture in Seattle;

Dancing House in Prague.

GUGGENHEIM MUSEUM, BILBAO

Bilbao, the largest city in the Basque country,

flanked by green hills, spreads along the

Nervion River valley, crawling and twisting

into an estuary that finally meets Cantabrian

Sea.

This Natural Topography acted as an inspiration

to his computational architecture.

The idea is to enhance the organic & dynamic

nature of the settlement.

Moreover, it became a catalyst for the urban and economic renewal of the city familiarly
known as "the Bilbao effect." Gehry tried to involve the project within a larger urban
scheme, revitalizing the waterfront, exploring the places from where better views could
be enjoyed and those where the museum should have a more modest scale.
 Using a pond in front of the muse-
um, the architect reflects the ad-
jacent waterfront, and using the
circulation in a theatrical and dy-
namic way, gives the impression
that the river reaches the edge of
the building.

The defining element of the topo-

logical architecture is

it’s the extensive use of topological,

“rubber-sheet” geometry of continu-
ous curves and surfaces, mathemati-
cally described as NURBS – (Non- Uni-
form Rational B-Spline curves and sur-
faces).

In the topological space, geometry

is represented not by implicit equa-
tions, but by parametric functions,
which describe a range of possibili-
ties.

The shape of a NURBS curve or sur-

The building is organized into around a central
face is controlled by manipulating the
space, around which 20 galleries are arranged in 3
location of control points, weights,
levels.
and knots. Any number of different
Towards the west end we found a shop, a cafete-
curves and surfaces could be pro-
ria and an auditorium.
duced by changing these control
points.

A metallic volume of horizontal proportions seems to float over them. It is followed by another
dramatic volume similar to the bow of a boat. Sculptural forms are achieved by means of a
structural steel frame which is covered with metal plates, hence the theatrical, and dynamic
nature that has characterized Gehry's
WORKS OF DANIEL LIBESKIND
Polish-American architect, artist, professor and set de-
signer. Designer of Jewish descent. Studio Daniel
Libeskind in 1989 with his wife, Nina.

Libeskind began his career as an architectural theorist

and professor, holding positions at various institutions
around the world. Few of his works are

1989–1999 - JEWISH MUSEUM BERLIN – Berlin, Germany

1995–1998 - FELIX NUSSBAUM HAUS – Germany

1997–2001 - IMPERIAL WAR MUSEUM NORTH –, England,

1998–2008 - CONTEMPORARY JEWISH MUSEUM – San Francisco, California, United States

JEWISH MUSEUM BERLIN, GERMANY

The Jewish Museum Berlin is one of the largest Jewish Museums in Europe. In three buildings,
two of which are new additions specifically built for the museum by architect Daniel
Libeskind, two millennia of German-Jewish history.

It consists of two buildings – a baroque old building, the “Kollegienhaus” (that formerly
housed the Berlin Museum). A new deconstructivist-style building by Libeskind. Construction
on the new extension to the Berlin Museum began in November 1992. The empty museum
was completed in 1999 and attracted over 350,000 people before it was filled and opened
on September 9, 2001

The two buildings have no visible connection above ground. Entrants proposed cool, neutral
spaces.
The Libeskind building, consisting of about 161,000 square feet (15,000 square meters), is a
twisted zig-zag and is accessible only via an underground passage from the old building. It
earned the nickname "Blitz" ("Lightning").

In the basement, visitors first encounter three intersecting, slanting corridors named the
“Axes.” It is apparent, which is also divided into three areas with different meanings. In Ber-
lin, the three axes symbolize three paths of Jewish life in Germany – continuity in German
history, emigration from Germany, and the Holocaust.

The first axis ends at a long staircase that leads to the permanent exhibition. The second ax-
is connects the Museum proper to the Hoffmann Garden, or The Garden of Exile, whose
foundation is tilted. The Garden's oleaster grows out of reach, atop 49 tall pillars.
 The third axis leads from
the Museum to the Holo-
caust Tower, a 79 foot (24
m) tall empty silo. The
bare concrete Tower is
neither heated nor
cooled, and its only light
comes from a small slit in
its roof. The Jewish Muse-
um Berlin was Libeskind's
first major international
success.

Jewish Museum Berlin-

CONCEPT

“The new design, which was created a year before the Berlin Wall came down was based
on three conception that formed the museum’s foundation: first, the impossibility of under-
standing the history of Berlin without understanding the enormous intellectual, economic
and cultural contribution made by the Jewish citizens of Berlin, second, the necessity to in-
tegrate physically and spiritually the meaning of the Holocaust into the consciousness and
memory of the city of Berlin. Third, that only through the acknowledgement and incorpo-
ration of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe
have a human future.”

WORKS OF BERNARD TSCHUMI

He is an architect, writer, and educator,
commonly associated with
deconstructivism. Son of the well-
known Swiss architect Jean Tschumi
and a French mother, Tschumi is a dual
French-Swiss national who works and
lives in New York City.

Since 1970s, Tschumi has argued that there is no fixed relationship between architectural
form and the events that take place within it. In Tschumi's theory, architecture's role is not
to express an extant social
structure, but to function as a tool for questioning that structure and revising it.
Tschumi's work in the later 1970s was refined through courses he taught at the Architec-
tural Association and projects such as The Screenplays (1977) and The Manhattan Tran-
scripts (1981) and evolved from montage techniques taken from film and techniques of
the nouveau roman.
 His use of event montage as a technique for the organization of program (systems of
space, event, and movement, as well as visual and formal techniques) challenged the
work other contemporary architects were conducting which focused on montage tech-
niques as purely formal strategies.

THE GLASS VIDEO GALLERY, NETHERLANDS

Bernard Tschumi Architects chose to use

the invitation extended by the city of Gro-
ningen to design a special environment for
viewing pop music videos as an opportuni-
ty to challenge preconceived ideas about
television viewing and about privacy.

Instead of an enclosed and private space,

the architects proposed its opposite: a glass
video gallery as an inclined, transparent
glass structure.

The gallery contains a series of interlocking

spaces defined by only by horizontal and
vertical glass fins,
and by the points of metal clip connections. Located within are six banks of monitors
used for screening videos

The dimensions of the gallery are 3.6 x

2.6 x 21.6 metres.

Situated in the Centre of a busy round-

about, the gallery merges with and ex-
tends the street condition, except that
within the "main drag" of the building
borders become indiscernible: monitors
provide unstable facades, glass reflec-
tions create mirages and unlimited
space is suggested.

The sloping floor also challenges our

perceptions of spatial stability.

At night, the endless reflections of the video screens off the parallel glass surfaces reverse all expectations of
what is architecture and what is event, of what is wall and what is electronic image, of what defines and of
what activates.
IDEAS AND WORKS OF URBANISM

Urbanism is the study of the characteristic ways of interaction of inhabitants of towns and
cities (urban areas) with the built environment. It is a direct component of disciplines such
as urban planning (the physical design and management of urban structures) and urban
sociology (the study of urban life and culture). However, in some contexts internationally
Urbanism is synonymous with Urban Planning, and the Urbanist refers to an Urban Planner.

Many architects, planners, and sociologists investigate the way people live in densely
populated urban areas. There are a huge variety of approaches within urbanism.

PRINCIPLES OF URBANISM

 Walkability
 Connectivity
 Mixed-Use & Diversity
 Mixed Housing
 Quality Architecture & Urban Design
 Traditional Neighborhood Structure
 Increased Density
 Green Transportation
 Sustainability
 Quality of Life
WORKS OF SOLERI
Paolo Soleri (21 June 1919 – 9 April 2013) was an Italian architect. He established the ed-
ucational Cosanti Foundation and he built Arcosanti with the help of generations of ar-
chitectural students, as a community and place to test urban design theories.

This "urban laboratory" became internationally renowned. Soleri authored six books, in-
cluding The Omega Seed, "Arcology – City in the Image of Man," and numerous essays
and monographs.
He adapted ceramics industry processes learned at this time to use in his award-winning
designs and production of ceramic and bronze wind bells and silt-cast architectural struc-
tures. The Soleris made a lifelong commitment to research and experimentation in urban
planning.

ACROSANTI, ARCOLOGY (Architecture + Ecology)

Arcosanti is an experimental town and

molten bronze bell casting community in
Yavapai County, central Arizona.

It is designed of Arcology concepts.

Construction began in 1970, to
demonstrate how urban conditions
could be improved while minimizing
the destructive impact on the earth.

He taught and influenced generations

of architects and urban designers who
studied and worked with him there to
build the town.

The town is planned to have

5,000 people.

Thirteen major structures have

been built on the site, some several

stories tall.

The latest master plan, designed in 2001, envisions a massive complex, called "Arcosanti
5000” that would dwarf the current buildings.

The goal of Arcosanti is to explore the

concept of arcology, which combines
architecture and ecology.

The town has the goals of combining the

social interaction and accessibility of an
urban environment with sound environ-
mental principles, such as minimal re-
source use and access to the natural envi-
ronment.

The project is building an experimental town on 25 acres (10 ha) of a 4,060-acre (1,640
ha) land preserve.
 DESIGN AND CONSTRUCTION OF ARCOSANTI

Tilt-up concrete panels are

cast in a bed of silt ac-
quired from the surround-
ing area, giving the con-
crete a unique texture and
colour that helps it blend
with the landscape. Many
panels were cast with em-
bedded art.

Most buildings are oriented

southward to capture the
Sun's light and heat
Roof designs admit the maximum amount of sunlight in the winter and a minimal amount
during the summer.
The bronze-casting apse is built in the form of a quarter-sphere or semi-dome.

The layout of the buildings is intricate and organic, rather than a city grid, with
a goal of maximum accessibility to all elements, and a combination of increased so-
cial interaction and bonds, together with privacy for the residents.

 A five-story visitors center/cafe/gift shop

 Bronze-casting apse, a ceramics apse
 Two large barrel vaults
 A ring of apartment residences
 Storefronts around an outdoor amphitheatre
 A community swimming pool
 An office complex and Soleri's suite.
 A two-bedroom "Sky Suite" occupies the highest point in the complex and is
available for overnight guests.
 Most of the buildings have accessible roofs.

PAOLO SOLERI AMPHITHEATER

The amphitheater was built in the
campus of Institute of American Indi-
an Arts and is now the campus of the
Santa Fe Indian School.

The venue's wing-like, organic shapes

emerge from a bowl-shaped depres-
sion in the high desert floor. Soleri's de-
sign was influenced by Native Ameri-
can themes.
 Location: Santa Fe, New Mexico Seating only about 650, the small theater hosted notable
Year of construction: 1970 North American performers.

Closed in 2010
The structure, which was never
considered finished, was designed by
Italian architect Paolo Soleri.
In later years, in the absence of the establishment of the ed-
ucational courses for which it was intended, an inclusive
Native Performance and Expressive Arts training program,
theater operations became unprofitable.

ARCHIGRAM
In the 1960s, the architects of Britain's Archigram group turned away from conventional
architecture to propose cities that move and houses worn like suits of clothes.

ARCHIGRAM is dominated architectural

avant garde movement.

Period: 1960s and early 1970s

Its playful, pop-inspired visions of a techno-

cratic future after its formation in 1961

Group of young London architects

Warren Chalk, Peter Cook, Dennis Cromp-

ton, David Greene, Ron Herron and Mi-
chael Webb
  Inspired by the ARPANET network developed by DARPA (Defence Advanced Research
Projects Agency)

 Archigram was one of many civilian groups that were quick to recognise the implica-
tions such of decentralised networks for their utopian visions of future cities.

 With The Instant City, Archigram

abandoned the presumption that a
city required buildings.

 Instead viewing the city as a net-

work of educational and entertain-
ment facilities that could temporarily
occupy “out of touch” provincial
towns in order that a “metropolitan
dynamic” may be installed.

 The walking cities would be aimed

at replacing the older, residential are-
as of the city and replace some of the
lower density commercial areas, far-
ther from the downtown city. The dy-
namic structure of the “city” would be
very impressive. Although it is called a
city, it is not actually a full city, it is
acombination of other elements of
archigram so it is called a city. (it is a
large mega structure)
PLUG IN CITY
PLUG-IN CITY

Plug-in-city dynamic, and ever-changing.

This could be seen as a positive thing, but for some

people the constant change and movement might
seem unnecessary or even annoying.

These timed replacements make it seem that people

will be forced to move, or replace their components
when the time comes.

The plug-in city fits the overall theme of being disposable.

The parts of the city have a predetermined life span (ex.

house location=15yrs, car silos and roads= 20yrs, main
mega structure= 40yrs).

Having set lifespans could prove to be a good thing

and a bad thing. It might cause good, functional sys-
tems to be removed after the set time, while also intro-
ducing, newer, better models.

Although it seems like a good idea that the sophisti-

cated designs will prove too hard to build on a large
scale.

Interlocking framework would be very hard to build in a

way that could support many “inputs.” The capsule
idea has a strong resemblance to hotel rooms.

The plug in city has the potential to work on a smaller

scale, for a section of a city today, but not majority of
the people would immediately buy into this idea.
 WALKING CITY
The walking city is a trademark de-
sign element of Archigram and
would drastically reduce traffic in
Atlanta.

The walking city is designed to be

mobile and flexible to keep pace
with the rapidly-changing needs
of our society.

The main mechanism is by bringing people

closer to their destinations (work, leisure, school, shopping etc.). In our walking
city, people will live, work, and relax in the same area.

Much of the traffic in Atlanta is caused by people commuting to and from work, particularly
during rush hour traffic. Now people will be in the same structure as their office, the park, the
stores and many other essential institutions (health care, schools, government offices). With this
system, the commuting traffic will be drastically reduced, and peoples’ day to day lives will be
more convenient.

Another key element to proposal is the inter-city tubes. These tubes will allow for efficient, fast,
safe transportation between buildings of the walking city.

Some tubes will be used for resources and material goods, and others will be used for people.

Using this sophisticated system, people will be able to travel across the entire city without bat-
tling traffic, thus saving a lot of time.

If there is a need for housing or offices in a particular region in the city, a new walking city
structure could be easily moved into the area.

By moving the housing and offices to

where they are needed, it will reduce the
need for people to commute, therefore
reducing road load.

The walking cities would replace certain

areas of the cities, while leaving others
completely intact. Once an adequate
number of walking cities are constructed,
Atlanta will have more open space (which
can be used to plant trees), and less traffic
problems.
 METABOLISM
In the 1960s a group of Japanese ar-
chitects dreamed of future cities and
produced exciting new ideas.

Kurokawa Kisho, Kikutake Kiyonori, Maki

Fumihiko under the influence of Kenzo
Tange gave birth to an architectural
movement that was called "Metabo-
lism."

Metabolism is a Biological concept,

came from an image of architecture
and cities that shared the ability of liv-
ing organisms to keep growing.

It had its first international ex-

posure during CIAM's 1959 meeting
and its ideas were tentatively tested
by students from Kenzo Tange's MIT
studio.

Metabolism had very few pportunities to translate its principles into built projects.

Metabolist architects and designers believed that cities and buildings are not static en-
tities, but are are ever- changing—organic with a "metabolism."

Postwar structures of the future are

thought to have a limited lifespan
and should be designed and built
to be replaced

Metabolically designed architecture is

built around a spine-like infrastructure
with prefabricated, replaceable cell-
like parts easily attached.

These 1960s avant-garde ideas be-

came known as Metabolism.
CAPSULE TOWER BUILDING

The total house of 140 prefabricated cap-

sules, each of which is independent from its
neighbour, being attached bolted onto a
single concrete shaft—like brussels sprouts on
a stalk .As a projection from the central load-
bearing frame.
Period: 1970 and 1972

Architect: Kisho urokawa

Two concrete towers, standing 11 and 13 storeys

high The two towers are connected to one another.

They have a stair and elevator shaft at the centre of each.

Inside, the space doesn’t seem that small.

It doesn’t even seem so relevant in our dai-
ly lives. The capsule perfectly fulfils its mod-
ern function of a “machine for living”.

The window is large and circular. It seems huge in such a space. The frame is
fixed, to avoid accidents, yet this precludes natural ventilation in the room.

Marine City, Hawaii. Kiyonori Kikutake,
1963. These "rollers" were cylindrical cores from
which housing units were born. As the units became
older, they were replaced by new ones, similar
to regenerating cells.
Kisho Kurokawa, 1970. Obsessed with the idea of
capsules, Kurokawa organized a structural frame
to which cube caps were attached. The unfinished
aesthetic conveyed the idea that it was a constant-
ly growing project.
 UNIT IV - AFTER MODERNISM III

CONTENTS

 Critical Regionalism as a category of architecture.

 Ideas and works of

 Hasan Fathy

 Critical Regionalism

 Ideas and works of

 Hasan Fathy
 Tadao Ando
 Geoffrey Bawa
 Louis Barragan
 Outline of contextual approaches in Indian architecture after
the 60s
 Works of Raje, Correa, Doshi (refer Unit-1)
 Raj Rewal
 Nari Gandhi
 Laurie baker
 UNIT IV - AFTER MODERNISM III

CONTENTS

 Critical Regionalism as a category of architecture.

 Ideas and works of

 Hasan Fathy

 Critical Regionalism

 Ideas and works of

 Hasan Fathy
 Tadao Ando
 Geoffrey Bawa
 Louis Barragan
 Outline of contextual approaches in Indian architecture after
the 60s
 Works of Raje, Correa, Doshi (refer Unit-1)
 Raj Rewal
 Nari Gandhi
 Laurie baker
CRITICAL REGIONALISM
Is an approach to architecture that strives to counter the placeless ness and lack of
meaning in Modern Architecture by using contextual forces to give a sense of place
and meaning. The term critical regionalism was first used by Alexander Tzonis and
Liane Lefaivre and later more famously by Kenneth Frampton.

Architecture has from the beginning been a representation of people. People’s desire
to express translated into tangible reality. The expression was fuelled by their primitive
instincts to inhabitable spaces.

Critical Regionalism is the reaction against the modern movement which attempts to
unify and homogenize the architecture of the world.

The attempt of Critical Regional-

ism ideology is to recover, what
orthodox modernism took away,
by contaminating the continuity
in a given place between past
and present forms of architec-
ture.

It addresses in depth:

 Culture & Tradition

 Site & Natural Surroundings
 Materiality & Craftsmanship

The fundamental strategy of Critical Regionalism is to mediate the impact of universal

civilization with the elements derived indirectly from the peculiarities of a particular
place”

-Kenneth Frampton
CHARACTERISTICS OF CRITICAL REGIONALISM

CULTURE & TRADITION

Architecture has always been a medium through which people expressed the pride of
their skill and nature of their society, even till today cities and countries are sometimes
identified by a significant piece of architecture, for example- the Pantheon, the Taj
Mahal, and the Pyramids of Egypt etc.

Looking back at tradition, and culture can never be a retarding factor, it could only
be an extremely useful tool in creating appropriate design. The architecture will have
roots, and a solid foundation of principles that give the architect reason to do what he
does.

THE SITE

The issues relating to site are extremely crucial in the concepts of regionalism. The mod-
ern way of flattening out the topography of a site to suit the architecture is the exact
opposite of the efforts made by the ideas of Regionalism.

In regionalism, the site is respected for its characteristics, the architecture is designed
to fit the site, gently and appropriately. Consideration of context and acknowledging
surroundings are some of the key aspects of critical regionalism.

Landscaping and natural conditions are considered and are integral with the design
process. Apart from the immediate site, there is careful consideration given to the sur-
rounding built environment.

Prominent natural characteristics of the site are considered and taken into account.
Climate is also an essential in the consideration of the design process. Every region has
its own particular nature in terms of climate and the design must acknowledge this
aspect.

Light is another crucial factor that goes into the design process. Depending on the na-
ture of the project, regionalism favors natural light, it is energy saving and pushes the
design towards achieving architecture.
MATERIAL & CRAFTSMANSHIP

Each region in the world, has its own fabric, and natu- ARCHITECTS OF CRITI-
ral treasure of resources. There is almost always a local CAL REGIONALISM
stone, and other construction materials.
LAURIE BAKER
In regionalism, tremendous importance is given to the-
HASAN FATHY
se locally available resources, because they are part
RALPH ERSKINE
of the personality of the region. The tactile experience
LUCIEN KROLL
is crucial, the materials used tell the story and add
meaning to the architecture. TADA ANDO

GEOFFERY BAWA
The various components that make up the architec-
LOUIS BARRAGAN
ture are not alienated from each other, the instead
are united by a common force. ALVARO SIZA

Craftsmanship is another extremely essential consid-

eration in the design of a building sensitive to the
place and context. Every region in the world, has its
own specialties in terms of what its local
craftsmen's skills are. These skills must be exploited effectively in order to add meaning
to the entire process of construction and design.

The tactile resilience of the place-form and the capacity of the body to read the environment in
terms other than those of sight alone suggest a potential strategy for resisting the domination of
universal technology.

- Kenneth Frampton
WORKS OF LAURIE BAKER (1917 – 2007)
 DESIGN FEA-

TURES COR-
BELLED ARCHES

FILLER SLABS

RAT TRAP BOND

JALLI WORK

KERALA REGION-
AL PROTOTYPE
WORKS OF HASSAN FATHY
WORKS OF GEOFFREY BAWA

He was a Sri Lankan architect. He was among

the most influential Asian architects of his gener-
ation. He is the principal force behind what is to-
day known globally as "tropical modernism".

Bawa's architecture is at one with the land: inside

and outside blend seamlessly, and it is designed
for the maximum pleasure of its inhabitants.

He was influenced by colonial and traditional

Ceylonese architecture, and the role of water in
it, but rejected both the idea of regionalism and
the imposition of preconceived forms onto a site.

Unlike other architects who rejected colonial architectures in the wake of post-
independence, Bawa took on a far more adaptive approach, sourcing design fea-
tures that were simply appropriate to Sri Lankan lifestyles, not necessarily choosing
one style over another.

As Bawa himself stated: “I prefer to consider all past good architecture in Ceylon as
just that – as good Ceylon architecture, for that is what it is, not Dutch or Portugese
or Indian, or early Sinhalese or Kandyan or British colonial, for all examples of these
periods have taken Ceylon into first account.”

DESIGN FEATURES

Bawa’s structures incorporated sloped roofing, overhanging eaves, verandahs, in-

ternal courtyards, ponds and glassless windows – each implemented to create high
levels of openness, ventilation, natural lighting and privacy.

An additional aspect of Bawa’s work which was integral to his designs, was the use
of locally sourced materials and locally trained craftspeople, a factor that allowed
for the building to harmoniously blend with the local landscape, both aesthetically
and socially.

Ultimately it is this combination of ideals that underlies the contemporary concept of

tropical modernism, a process driven by the need to adapt, translate and utilise the
tropical nature at hand.

Bawa’s ability to successfully implement such a concept has provided inspiration for
many architects presently working in tropical climates.
GEOFFREY BAWA’S HOUSE

The house in 33rd Lane is an essay in architectural bricolage. Elements salvaged from
old buildings in Sri Lanka and South India were artfully incorporated into the evolving
composition.

In 1958 Bawa bought the third house in a row of four small houses.
He converted it into a pied-à-
terre with living room, bed-
room, tiny kitchen and room
for a servant.

After some time he bought

the fourth and this was colo-
nized to serve as dining room
and second living room.

Ten years later the remaining

bungalows were acquired
and added into the composi-
tion and the first in the row
was converted into a four-
storey tower.

Over a period of forty years the houses were subjected to continual change.

Although the plan form of the whole might at each stage have been thought to be
simply the result of an arbitrary process
of stripping away and adding, any accidental or picturesque quality has always
been tempered by a strong sense of order and composition. It was here that Bawa
developed his interest in architectural bricolage.

The main part of the house is an evocation of a lost world of verandahs and court-
yards assembled from a rich collection of traditional devices and plundered artifacts
and the new tower which rises above the car port rises from a shady nether world to
give views out across the treetops towards the sea.
A building can only be understood by moving around and through it and
by experiencing the modulation and feel the spaces one moves through
it and by experiencing the modulation and feel of the spaces one moves
through it end by experiencing the modulation and feel of the spaces
one moves through- from the outside into verandah, than rooms, passag-
es, courtyards.

Architecture cannot be totally explained but must be experienced.

GEOFFREY BAWA

Columns from an-

cient buildings now
demolished fmd
their place among
other artifacts
which the architect
has incorporated
into his residence

CARPORT AND MAIN CORRIDOR

SITTING ROOM AND COURTYARD

Baker has unified a set

of four houses into a
series of living spaces
with numerous court-
yards, light wells and
views onto the out of
doors.
WORKS OF TADAO ANDO
He is a Japanese self-taught architect whose ap-
proach to architecture and landscape was cate-
gorized by architectural historian Francesco Dal Co
as "critical regionalism".

Ando did not receive any formal architectural

schooling. Instead, he trained himself by reading
and traveling extensively through Africa, Europe,
and the United States.

He attended night classes to learn drawing and

took correspondence courses on interior design.
He visited buildings designed by renowned archi-
tects like Le Corbusier, Ludwig Mies van der Rohe,
Frank Lloyd Wright, and Louis Kahn before returning
to Osaka in 1968 to establish his own design studio,
Tadao Ando Architects and Associates.

He responds both sensitively and critically to the chaotic Japanese urban environment, but
maintains a connection to the landscape. In opposition to traditional Japanese architecture,
Ando creates spaces of enclosure rather than openness.

He uses walls to establish a human zone and to counter the monotony of commercial archi-
tecture. He believes architecture can provide a spiritual and even sacred dimension of the
human existence.

In all my works, light is an important controlling factor,” says Ando. “I create enclosed spaces
mainly by means of thick concrete walls. The primary reason is to create a place for the indi-
vidual, a zone for oneself within society.

When the external factors of a city’s environment require the wall to be without openings, the
interior must be especially full and satisfying.”

CHURCH OF LIGHT

WALL

Walls manifest a power that borders on the

violent. They have the power to divide space,
transfigure place, and create new domains.
Walls are the most basic elements of architec-
ture, but they can also be the most enrich-
ing.”
Light and wind only have meaning when they are introduced inside a house in a form cut
off from the outside world. Wall to delineate a space – physically and psychologically
from the outside world.
WORKS OF LOUIS BARRAGAN
He was a Mexican architect and engineer. His
work has influenced contemporary architects vis-
ually and conceptually. Barragan’s buildings are
frequently visited by international students and
professors of architecture.

He studied as an engineer in his home town, while

undertaking the entirety of additional coursework
to obtain the title of architect.

Barragan won the Pritzker Prize, the highest award

in architecture, in 1980, and his personal home,
the Luis Barragan House and Studio, was declared
a UNESCO World Heritage Site in 2004.

It has also been proved that Louis Kahn informally consulted Barragan on the space
between the buildings of the Salk Institute in La Jolla, California. According to the
documents, Kahn's original idea was to place a garden between the buildings; how-
ever, Barragan suggested that an open plaza, with only a water feature in between,
would better reflect the spirit of the location.

This area, possibly designed with Barragan’s advice in mind, is arguably the most im-
pressive aspect of the building complex. He was a highly recognized consulter by
many Mexican and International architects on landscape design, as he had a par-
ticular ability to envision the outdoor spaces and their relation to their interior para-
digms and the natural context characteristics.

CASA BARRAGAN, BARAGGAN’S HOUSE, MEXICO

Widely recognized for his emphasis on color, light, shadow, form

and texture, it can only be expected that the former residence
of Pritzker Prize winner Luis Barragan encompasses all of his
trademarks. The most prominent aspects of the design

Casa Barragan are the use of flat planes and

light, both natural and artificial. The skylights and windows

allow for visual tracking of light throughout the day; the
floods of natural light and views of nature are the key pur-
poses of the windows. Opening up into the garden, the
back of the house creates a visible and physical relation-
ship between the lower level and the backyard. Barragan
often called himself a landscape architect because he
placed as much emphasis on the exterior and surround-
ings of a building as he did on the interior.
CLASSICS OF ARCHITECTURE: THE CLUBS

It was designed by the architect

Barragan for a community of horse-
men. It became a symbol of his work
for the impeccable use of water, the
geometric abstraction of the different
planes and color, recurrent elements
in his career.

The fountain is one of the spaces for

public use within the project. This
should be a place for the riders and
their horses, but it was specifically de-
signed as a drinking fountain for the
animals, not as a decorative fountain.

Barragan describes it this way: "the

depth of the pond I calculated so
that when the horse passed, the wa-
ter would reach the belly".

The rider enters a lateral access framed by large, then down to the sink on the horse, which is
immersed in water pink wall. All this situation occurs accompanied by the noise of water,
which falls as a waterfall from the aqueduct perfectly supported on another wall of the same
material. In this way the water appears calm and moving, changing.

WORKS OF ALVARO SIZA

He is a Portuguese architect, and architectural edu-

cator. Siza’s work is characterized by just that sense
of architecture as a means of listening to the real, in
that it hides at least as much as it shows.

Siza’s architecture makes one see, and it reveals ra-

ther than interprets the truth of the context. Siza's
characteristic attention to spatial relationships and
appropriateness of form are as germane to a single
family residence as they are to a much larger social
housing complex or office building. The essence and
quality of his work is not affected by scale.

Most of his best known works are located in his hometown Porto: the Boa Nova Tea House
(1963), the Faculty of Architecture (1987–93), and the Serralves Museum of Contemporary Art
(1997). Since the mid- 1970s, Siza has been involved in numerous designs for public housing,
public pools, and universities.

In 1992, he was awarded with the renowned Pritzker Prize for the renovation project that he
coordinated in the Chiado area of Lisbon, a historic commercial sector.
PORTO SCHOOL OF ARCHITECTURE

Built between 1985 and 1996 by the Portu-

guese architect Álvaro Siza, a former student
of the school, the work consists of 10 different
volumes, each one with its own unique per-
sonality, but which find a common identity
through color, opacity and constructive solu-
tions.

These volumes, whose project activity is lack-

ing inspiration, have a strong relationship with
the natural environment of the city of Porto. It
is precisely these openings, along with the so-
lar protections, where Siza creates differentia-
tion and movement between the volumes.

Knowing that much of the interaction and learning was not taking place in classrooms and li-
braries, but more in the in-between spaces, patios, and cafes, the architect paid great atten-
tion to them. He designed the college like a small town, taking advantage of the unevenness
of the terrain to create more social, wider spaces, and more intimate spaces. Walkways and
ramps connecting levels and classes are laid out like streets, and the cafe and courtyard like
plazas and parks.

The school's original program included classroom

facilities for 500 students, an auditorium, administra-
tion, an exhibition hall and a library. The architect
decided to split this program into separate build-
ings. In the southern part, with views of the Douro
River, they placed the classrooms and workshops.
SERRALVES MUSEUM, PORTUGAL

Located in Serralves Park, approximately 500 metres

from the Serralves Villa, the Museum is the Founda-
tion’s primary exhibition space and establishes a di-
rect interaction with the Park, where several installa-
tions and sculptures may be found.

Instead of creating a monumental façade, the

building’s status as a museum is accentuated by the
intrinsic interaction between each individual ele-
ment, delivering harmonious perspectives of the
museum space for visitors. The Museum’s rooms
have high ceilings (equivalent to two storeys) and
varying floor levels, in function of the terrain, which
has a slope of approximately 5.3%.

The building is built in a longitudinal manner from

North to South, with a central body divided into two
wings, separated by a patio, thus creating a U-
shaped structure, complemented by an L-shaped
construction,
which creates a second patio between the latter building and the main building. This patio
serves as the main access to the Museum, with connection to the underground car park and
gardens. The Museum has 14 exhibition rooms and store rooms for works of art, distributed across
three floors. The upper floor is the location of the cafeteria/restaurant, esplanade and multi-
purpose rooms, the entrance floor has exhibition rooms and a bookshop and the lower floor houses
the library and auditorium. Access to these spaces is facilitated via a square-shaped atrium located
next to the reception, complemented by a cloakroom and information area, in an area adjacent
to the Museum entrance.
WORKS OF RAJ REWAL
“When tradition meets Innovation”

Born on 24, November 1934 in village

Hoshiarpur, Punjab.

He lived in Shimla and Delhi in 1939-1951. He

attended Harcourt Butler Higher Secondary
School

In 1951-1954, he attended Delhi School of

Architecture, New Delhi. In 1955-1961, he
moved to London and attended the Archi-
tectural Association School for one year.

He completed his formal professional training at the Brixton School of Building, London. He
worked as an assistant stage manager for many Avant grade theatre productions in London.

He became an associate of Royal Institute of British Architects, London. He opened a second

office in Tehran, Iran in 1974. In 1986, curator of the exhibition “Traditional Architecture of In-
dia” for the festival of India in Paris.

INFLUENCES OF RAJ REWAL

The two major influence that he encountered is the time when he returned to India. He
admits that those influences have helped him in his development as an architect.

 When he became a Professor at the School of Planning and Architecture in New Delhi.

 After studying the Projects of Le Corbusier.

 Influenced by the typologies of traditional buildings and cities like Jaisalmer.

Corbusier made contemporary designs. After the success

achieved by him in the planning of Chandigarh City, it be-
came evident to Raj Rewal that Modern means can be ap-
plied to build in India. He developed a sense of Contemporary
style as well as learned to retain the traditionalism of India.

PHILOSOPHY

Rewal’s designs have some things in common with those of his

contemporaries Charles Correa, Balkrishna V Doshi and Achyut
Kanvinde— such as broken-up forms, open courtyards and so-
ciable living or working environments.

But Rewal’s work has its own range and grammar. Unlike the
other architects, and like Joseph Allen Stein also in New Delhi,
Rewal has built largely in one place and climate — Delhi, and
hot, dry north India.

STRUCTURAL INNOVATION

Rewal’s oeuvre encompasses mega structures and micro spaces. He is interested in structural
innovation in big buildings, as well as in small, nurturing spaces for everyday living. One comes
from his 1950s training in, mainly, London and Paris, and the other from his memories of life in
older settlements.

Rewal’s commitment to structural innovation was unusual for the 1970s in India. Engineering
was believed to serve the vision of the architect.

To a large extent it is so even today. But buildings like the State Trading Corporation tower
(1976) in the heart of New Delhi turned that process around. Here Rewal used a structural
concept as the basis of the architectural form.
Rewal’s grammar uses some of the principles of traditional architecture in Rajasthan — upper
floors project outwards to shade lower walls, jalis cut glare or improve a façade. He uses the
same material — sandstone
— often, but as cladding for RCC (reinforced cement concrete) and masonry struc-
tures rather than structural work. In effect, Rewal reinterprets traditional stone architecture in
modern brick and RCC.
 HIS WORKS
1. HALL OF NATIONS

2. ASIAD GAMES VILLAGE

3. PARLIAMENT LIBRARY

4. GUJRAL HOUSE

5. ISMAILI CENTRE

ENGINEERS INDIAN HOUSE, NEW DELHI

 WORKS OF NARI GANDHI

…. the reality of architecture is not

contained in the roof and walls, but in
the space within. It is the space that is.

- Nari Gandhi
Pen Name: NARI
Born: January 1, 1934, Surat, India.
Nationality: Indian
Education: Sir J. J. College of Architecture,
Mumbai.
Career: Worked for the American Ar. Warren
Weber.

IDEOLOGY

 His works display a distinctive organic character.

 Nari's works display highly skilled craftsmanship and structural ingenuity.
 His architecture seeks inspiration from NATURE while accepting nature as his
guide.
 Most of Gandhi’s buildings in the countryside are exercises in balanc-
ing acts to hold roofs up and unique ways in ferrying loads down to the
ground.

WORK STYLE “Inspired by Yesterday Aspired for Tomor-

 Brick, Stone, steel and timber as
structural materials.
 Grey Kota stone flooring.
 Polished teak wood ceilings.
row”
Simplicity, gentleness and purity are the
words that describe
Nari Gandhi aptly, and also very appro-
priate for his architectecture.

He is one the great architects of his times.

 Slanting windows and leather furniture.
He was unique in his own way and has his
 Jaipuri chunna was used for walls own understanding for architecture.
  Coconut and Almond trees cover the entire site.

 Paintings, Sculptures and pottery is used

extensively.

 Low ht. height furniture.

 Dim lighting, which is not harsh.

 Terracotta murals are used.

GEOMETRY
 The fusion of interior spaces to create Transparency within a structure
are obtained by the means of geometry.
 Geometry was used not only as a means of organizing materials and
spaces but also in the third dimension to give dynamism to form and
tension to the space. Geometry was the underlying discipline of struc-
ture, a primary tool for ordering an architectural form.

KORLAI BUNGALOW IN MAHARASHTRA

 Nari Gandhi selected the waterfront
lot and designed an elevated open
arched pavilion facing the sea.
 Two parallel arches form the struc-
tural frame of the pavilion and sup-
port the large pitched roof.
 These brick (wire-cut hollow brick)
walls have punctures that were later
filled with stained glass.
 Lower levels of the pavilion con-
tained service spaces, bedrooms,
and kitchen areas.
 The upper level dining and living ar-
eas have spectacular views of the
sea.
JAIN BUNGALOW AT LONAVLA

It has a total of 9 rooms: a prayer room, a living room, a card room, a kitchen, a
dining area, and four bedrooms. Structure consists of stone
masonry walls of varying sizes and colors.

A single large roof plane, dotted

with dormer windows and covered
with Mangalore tiles.

Internal courts on different levels

are covered in transparent corru-
gated roofing sheets. Dormer win-
dows overlooking the landscape
around the bungalow also serve to
visually unify these rooms.

Interior view showing the play of light Exterior view of the steel truss-supported
against a rough stone wall. roof that follows the terraced landscap-
ing on site.
 UNIT V - CONTEMPORARY ARCHITECTURE

CONTENTS
 Late 20th century and their influence on architecture
 Outline of architecture related to
1. parametric design
2. digital processes,
3. sustainability,
4. globalisation,
5. phenomenology,
6. complexity.
7. Ideas and works of ZHA,
8. contemporary Dutch architecture,
9. Bjarke Engels
10. BIG,
11. OMA
12. Rem Koolhaas,
13. Steven Holl,
14. Mcdonough,
15. Yeong,
16. Zumthor,
17. Pallasma,
18. Murcutt.
 Outline of contemporary architecture in the non Western world.
 Large scale changes in India from the 90s.
 Outline of post 1990s architecture of India.
ARCHITECTURE FROM THE LATE 20TH CENTURY
 Overview of larger changes in society from late 20th century and their influ-
ence on architecture:
 Technology is changing architecture.
The world of computational design means
architects are pursing new frontiers where
architecture can be generated through the
writing of algorithms and software, where
interactive physical mechanisms can be built
that respond to their environment, adapting
and evolving as necessary.
 Digital Fabrication
 While the focus of Smartgeometry is on digital
tools and design, increasingly hardware is
being used including electronics, robotics,
sensing, and a range of fabrication
machines. The linking of computational
design to computational manufacture is
redefining the practice of architecture.
 Simulation and Design
 new design techniques incorporate material
properties, energy flows, and structural
performance with an agent-based
simulation system. Exploration of a bottom-up
approach to construction where rules
guided the assembly of the structure.
 Custom software analysed the emerging
structure, simulated alternative rules, and
applied these to evolve the construction.
 Interactive and Responsive Architecture
 The physical setup for the immersive design environment links multiple projectors, infra-
red motion sensors, and visualization and analysis software.
PHENOMENOLOGY
 Designing an experience is a unique responsibility of an architect. The theory of
phenomenology acknowledges this responsibility by implementing sensory design in
order to establish experiential, architectural space.
 Phenomenology demonstrated in architecture
is the manipulation of space, material, and
light and shadow to create a memorable
encounter through an impact on the human
senses.
 This theory promotes the integration of sensory
perception as a function of a built form. This
creates an experience that is beyond tangible
but rather abstract, observed and perceived.
 The major phenomenological theorists are-
Alberto Pérez-Gómez, Peter Zumthor and
Steven Holl, highlight its fundamental
characteristics as a theory, in contrast to a
more rationalist design approach.
 Phenomenological concept strategies in architectural design intend to develop a
unique experience of the phenomena of space, light and form.
 Zumthor often describes some of his most vivid memories through the expression
of texture and material. He begins, “There was once a time when I experienced
architecture without even thinking about it”, before he goes on to reveal a vivid
illustration on childhood memories of the texture of a “particular door handle”,
“gravel under his feet” and “soft asphalt warmed by the sun”.
ZHA – ZAHA HADID ARCHITECTECTS
 Zaha Hadid Architects is a British

International architecture and design firm

founded by Zaha Hadid, with its main office

situated in Clerkenwell, London

 ZHA undoubtedly redefines architecture

for the 21st centurywith a repertoire of

projects in every scale and form that

have captured imaginations across the

globe.

 Exploring formal concepts at all scales

- from

 city masterplans and skyscrapers to

furniture pieces, product designs and

jewellery, as a result of a comprehensive

research are inscribed within every

design.

 "Receiving the highest honours from

civic, professional and academic institutions worldwide, ZHA is one of the world’s
most consistently inventive architectural studios—and has been for four decades.“

• These 40 years of research are inscribed within every design.Marrying innovative digi-
tal design methods with ecologically sound materials and sustainable construction
practices, ZHA does not look at the disparate parts, but works to understand them
as a whole to build the aspirations of a new generation.
ZHA – BEIJING DAXING INTERNATIONALAIRPORT (2014 – 2019)
ZHA – Aljada Central Hub (2018 – TBC)
BJARKE INGELS AND BIG

 Bjarke Bundgaard Ingels is a Danish architect,

founder and creative partner of Bjarke Ingels

Group (BIG).

 In Denmark, Ingels became well known after

designing two housing complexes in

Ørestad: VM Houses

and Mountain Dwellings.

 In 2006 he founded Bjarke Ingels Group, which

grew to a staff of 400 by 2015.

Design Philosophy:
 Ingels and BIG "has abandoned 20th-century

Danish modernism to explore the more fertile

world of bigness and baroque eccentricity...

BIG's world is also an optimistic vision of the

future where art, architecture, urbanism and

nature magically find a new kind of balance.

Yet while the rhetoric is loud, the underlying

messages areserious ones about global warming,

community life, post-petroleum-age architecture

and the youth of the city.”

BIG – Mountain DwellingsAPARTMENTS, COPENHAGEN,

DENMARK
 The Mountain Dwellings are the 2nd generation of the VM Houses - same client,
same size and same street.
 The program, however, is 2/3 parking and 1/3 living. What if the parking area
became the base upon which to place terraced housing - like a concrete
hillside covered by a thin layer of housing, cascading from the 11th floor to the
street edge? Rather than doing two separate buildings next to each other - a
parking and a housing block - we decided to merge the two functions into a
symbiotic relationship.
 The parking area needs to be connected to the
street, and the homes require sunlight, fresh air
and views, thus all apartments have roof gardens
facing the sun, amazing views and parking on the

10th floor.

 The Mountain Dwellings appear as a suburban

neighbourhood of garden homes flowing over a
10-storey building - suburban living with urban
density.
TharanginiAM
SAA
 The roof gardens consist of a terrace and a garden with plants changing character
according to the changing seasons. The building has a huge watering system which
maintains the roof gardens. The only thing that separates the apartment and the gar-
den is a glass façade with sliding doors to provide light and fresh air.

 The residents of the 80 apart-

ments will be the first in Orestaden
to have the possibility of parking di-
rectly outside their homes. The gi-
gantic parking area contains 480
parking spots and a sloping eleva-
tor that moves along the moun-
tain's inner walls. In some places
the ceiling height is up to 16 meters
which gives the impression of a ca-
thedral-like space.
  The north and west facades are cov-
ered by perforated aluminium plates,
which let in air and light to the parking
area. The holes in the facade form a
huge reproduction of Mount Everest. At
day the holes in the aluminium plates
will appear black on the bright alumini-
um, and the gigantic picture will re-
semble that of a rough rasterized pho-
to. At night time the facade will be lit
from the inside and appear as a photo
negative in different colours as each
floor in the parking area has different
colours

BIG - Mountain Dwellings- APARTMENTS, OPENHAGEN, DENMARK

BIG - Danish National Maritime Museum MUSEUM HELSINGOR,
DENMARK

 The Danish Maritime Museum had to find its place in a unique historic and spatial
context; between one of Denmark’s most importantand famous buildings and a
new, ambitious cultural centre. This is the context in which the museum has proven
itself with an understanding of the character of the region. Like a subterranean mu-
seum in a dry dock.
 Leaving the 60 year old dock walls untouched,the galleries are placed below
ground and arranged in a continuous loop around the dry dock walls - making the
dock the centerpiece of the exhibition - an open, outdoor area where visitors expe-
rience the scale of ship building.
 A series of three double-level bridges span the dry dock, serving both as an urban
connection, as well as .
BIG - Danish National Maritime Museum MUSEUM HELSINGOR,
DENMARK

 The harbor bridge closes off the dock while serving as harbor promenade; the muse-
um’s auditorium serves as a bridge connecting the adjacent Culture Yard with the
Kronborg Castle; and the slopingzig-zag bridge navigates visitors to the main en-
trance.
 This bridge unites the old and new as thevisitors descend into the museum space
overlooking the majestic surroundings above and below ground. The long and noble
history of the Danish Maritime unfolds in a continuous motion within and around the
dock, 7 meters (23 ft.) below the ground. All floors - connecting exhibition spaces
with the auditorium, classroom, offices, café and the dock floor within the museum -
slope gently creating exciting and sculptural spaces.
REM KOOLHAAS AND OMA (OFFICE OF METROPOLITAN ARCHITECTURE)

REM KOOLHAAS AND OMA (OFFICE OF METROPOLITAN ARCHITECTURE)

 Philosophies - Considered one of the

most important architectural theorists and
urbanists of his generation, Koolhaas, in a
presentation at the CTBUH Awards Symposium
(2013), said: "When I published my last book, "Con-
tent", in 2003, one chapter was called "Kill the Sky-
scraper". Basically it was an expression of disap-
pointment at the way the skyscraper typology
was used and applied. I didn’t think there was a
lot of creative life left in skyscrapers. Therefore, I
tried to launch a campaign against the skyscraper
in its more uninspired form.“
 When it comes to transforming observations into practice, Koolhaas mobi-
lizes what he regards as the omnipotent forces of urbanism into unique design
forms and connections organised along the lines of present-day society.
Koolhaas continuously incorporates his observations of the contemporary city
within his design activities: calling such a condition the ‘culture of congestion’.

 A key aspect of architecture that Koolhaas interrogates is the "Program":

with the rise of modernism in the 20th century the "Program" became the key
theme of architectural design. An early design method derived from such
thinking was "cross-programming", introducing unexpected functions in
room programmes, such as running tracks in skyscrapers. More recently,
Koolhaas unsuccessfully proposed the inclusion of hospital units for the home-
less into the Seattle Public Library project (2003).

REM KOOLHAAS AND OMA- QATAR NATIONAL LIBRARY

 The building is 138 meters long. From the beginning the idea was to make reading
as accessible and as stimulating as possible to the population of Qatar as a whole.
“We thought we could achieve that by creating a building that wasalmost a single
room, not divided in differentsections, certainly not into separate floors”.
 We took a plate and folded its corners up to create terraces for the books, but also
to enable access in the center of the room. You emerge immediately surrounded by
literally every book –all physically present, visible, and accessible, without any partic-
ular effort. The library is a space that could contain an entire population,
and also an entire population of books...

 Project Description

 Qatar National Library contains Doha’s National Library, Public Library and Univer-
sity Library, and preserves the Heritage Collection, which consists of valuable texts
and manuscripts related to the Arab-Islamic civilization. The public library will house
over a million books and space for thousands of readers over an area of 42,000
m2. The library is part of the Education City, a new academic campus which hosts
satellite campuses from leading universities and institutions from around the world.

 Qatar National library is the latest expression of OMA’s long-term interest in the li-
brary. “With Qatar National Library, we wanted to express the vitality of the book
by creating a design that brings study, research, collaboration and interaction
within the collection itself – a collection that consists of over one million volumes,
among which are some of the most important and rare manuscripts in the Middle
East”.
 The library is conceived as a single room which houses both people and books. The
edges of the building are lifted from the ground creating threeaisles which accommo-
date the book collection and, at the same time, enclose a central triangular space.
This configuration also allows the visitor to access the building at its center, rather
than laboriously entering from the perimeter. The aisles are designed as a topogra-
phy of shelving, interspersed with spaces for reading, socializing and browsing.

 Project Description
 The bookshelves are meant to be part of the building
both in terms of materiality – they are made of the same
white marble as the floors – and of infrastructure – they
incorporate artificial lighting, ventilation, and the book
 return system.

 A column-free bridge connects the library’s main aisles,

allowing for a variety of routes throughout the building.
The bridge is also a meeting space: it hosts media and
study rooms, reading tables, exhibition displays, a circu-
lar conference table, and a large multipurpose audito-
rium, enclosed by a retractable curtain designed by
Amsterdam studio InsideOutside, who were also re-
sponsible for the landscaping.

 The heritage collection is placed at the center of the li-

brary in a six- meter-deep excavated-like space, clad in
beige travertine. The collection can also operate au-
tonomously, directly accessible from the outside.
 The corrugated-glass façade filters the otherwise bright
natural light, creating a tranquil atmosphere for read-
ing. The diffuse light is directed further into the core of
the building by a reflecting aluminium ceiling. Outside,
a sunken patio provides light to the staff office space in
the basement, and at the same time acts as transition
space before entering the world of books.
Rem Koolhaas and OMA- CCTV Headquarters, Beijing
  The CCTV headquarters aims at an alternative to the exhausted typology of the sky-
scraper. Instead of competingin the race for ultimate height and style within a tradi-
tional two-dimensional tower 'soaring' skyward, CCTV's loop poses a truly three-
dimensional experience, culminating in a 75-metre cantilever. The building is visible
from most of Beijing; it sometimes comes across as big and sometimes small, from
some angles strong and from others soft.
 CCTV's form facilitates the combination of the entire process of TV-making in a loop
of interconnected activities.Two towers rise from a common production studio plat-
form,the Plinth. Each tower has a different character: Tower 1 serves as editing area
and offices, and the lower Tower 2 is dedicated to news broadcasting. They are
joined by a cantilevering bridge for administration, the Overhang.

REM KOOLHAAS AND OMA- CCTV HEADQUARTERS, BEIJING

 The innovative structure of the buildingis the result of long term collaboration be-
tween European and Chinese engineers to achieve new possibilities for the high-rise.
 The forces at work within the structure are rendered visible on the façade: a web of
triangulated steel tubes - diagrids - that, instead of forming a regular pattern of dia-
monds, becomedense in areas of greater stress, looser and more open in areas re-
quiring less support. The façade itself becomes a visual manifestation of the building's
structure.
 The self-supporting hybrid facade structure features high performance glass panels
with a sun shading of 70 percent open ceramic frit, creating the soft silver-grey color
that gives the building a surprisingly subtle presence in the Beijing skyline.
  The 10,000-square metre main lobby, in Tower 1, is an atriumstretching three floors
underground, and three floors up. It has a direct connection with Beijing's subway
network, and will be the arrival and departure hub for the 10,000 workers inside CCTV
headquarters. Connected to the lobby, 12 studios (the largest is 2,000 square metres)
perform the main function of the building: TV making.
 The CCTV headquarters also facilitates an unprecedented degree of public access
to the production of China's media: a Public Loop takesvisitors on a dedicated path
through the building, revealing everydaystudio work as well as the history of CCTV,
and culminating at the edge ofthe cantilever, with spectacular viewstowards the
CBD, the Forbidden City,and the rest of Beijing.

STEVEN HOLL – PHILOSOPHIES

 As the founder of Steven Holl Architects, Steven Holl

(born December 9, 1947) is recognized as one of
the world's leading architects, having received pres-
tigious awards for his contributions to design over
the course of nearly forty years in practice, includ-
ing the prestigious Alvar Aalto Medal in 1998, the
AIA Gold Medal in in 2012, and the 2014 Praemium
Imperiale. In 1991, Time Magazine named Holl
America's Best Architect.

 He is revered for his ability to harness light

to create structures with remarkable sensi-
tivity to their locations, while his written
works have been published in many
preeminent volumes, sometimes collabo-
rating with world-renowned architectural
thinkers such as Juhani Pallasmaa and Al-
berto Pérez-Gómez.
 Immediately after completing his studies, Holl founded his practice in New York
City in 1976. The firm now has offices in New York and Beijing under the direction of
Steven Holl and Senior Partner Chris McVoy. Holl and the firm have been the sub-
ject of dozens of exhibitionsat the Museum of Modern Art and London's Design Mu-
seum. Since 1981, Holl has been a tenured professor at Columbia University's Grad-
uate School of Architecture and Planning.
 Steven Holl Architects is known for its typological and phenomenological ap-
proaches to design, aiming to transcend the human experience through the firm's
unique approach to location-driven design and programmatic specificity. On their
design approach, the firm's mission states that "the phenomena of the space of a
room, the sunlight entering through a window, and the color and reflection of mate-
rials on a wall and floor all have integral relationships," adding that "the materials of
architecture communicate through resonance and dissonance, just as instruments in
musical composition, producing thought and sense- provoking qualities in the expe-
rience of a place."
 “Architecture is an art. For me, it’s not a corporate activity. I don’t like corporate ar-
chitecture”.

 “I think that you must, in a way, bring the mind and the hand together to begin a
project. This seed that starts the project is something you’re emotionally feeling as
well as intellectually feeling. The concept sketch, via watercolour, is a perfect way to
begin”. Often Steven Holl will sketch 20 or 30 different concept ideas in this manner
before he settles on one of them. “I am uneasy until I define the concept. But once
the decision is taken, I stick to it and the entire team works to reinforce it”.

 In addition to his watercolour sketches, the second important constant in Steven

Holl’s work is his use of the golden ratio as a proportioning system. For 40 years, all of
his designs have been based on the Fibonacci series and an aspect ratio of 1:1.618.
“This proportion is in our blood and in our bones, where it determines the lengths of
the individual joints of our fingers, for example. You will find it in a nautilus shell, a pine
cone, and even in the spiral of the solar wind. For me it is a fine-tuning device. I don’t
start with it ever, but introduce it during the design process to bring the individual el-
ements and openings of a building in balance. Proportions in architecture are very
 important. Unfortunately, they are often neglected in our era of computer drawings
that are inherently scaleless”.

 “Models are an excellent way to experiment with materials, their translucency or

transparency, and the reflections and refractions they produce. The models that we
build are full of different properties of light. This is something you can never achieve in
computer renderings.”

 “To me, light is to space what sound is to music. The experience of architecture, the
overlapping perspectives – it is the equivalent of spatial acoustics to light.”

STEVEN HOLL – COFCO CULTURAL AND HEALTH CENTER IN SHANGHAI

 Designed in 2016, the project was designed to become a social condenser, foster-
ing community among the residents of the surrounding new housing blocks with a
public space and park along an existing canal. Centering on public space, the pro-
jects features an exoskeletal concrete construction.
 As the SHA team states, while the adjacent housing blocks are repetitive, the Cofco
center architecture was made to embrace spatial energy and openness, inviting the
whole community in for recreational and cultural programs. Subtractive cuts in the
concrete structure shape its architectural language. The Health Center is also
shapedby the curves of the landscape. Both buildings have green sedum roofs,
which merges them with the landscape when seen from the surrounding apartment
buildings.
 The landscape and two new public buildings are merged by the concept of
“clocks and clouds.” The landscape is organized in large, clocklike circles form-
ing a central public space, and the buildings take on a porous and open quali-
ty. The Cultural Center hovers over a transparent glass base that exposes a ca-
fé and game and recreation rooms. A curved ramp, climbing up to the se-
cond floor, creates a continuous experience of overlooking and views.
 The Shanghai Cofco Cultural and Health Center is expected to be completed in fall
2020.
 The Cultural Center has been designed for maximum community interaction, featur-
ing a library, gym, exhibition areas and recreational facilities. The white mass of the
upper floors hovers above a transparent glass base, exposing a café and game
rooms. From the base, a curved ramp leads visitors up to the second floor. A variety
of openings along the facade provide a connection between the interior and the
wider neighborhood outside.
 Across the plaza, the footprint of the HealthCenter has been dedicated by the
curves of the landscape, strengthening its relationshipto the plan’s core concept of
“Clouds & Time.” Within, the building will house a health consultation and education
center,which will include a pharmacy, consultation and examination rooms, a nurse-
ry area and lounges.
STEVEN HOLL – CHAPEL OF ST. IGNATIUS
 The Chapel of St. Ignatius, designed by Steven Holl Architects, is a Jesuit chapel
for Seattle University. A series of light volume corresponds to a part of Jesuit
Catholic worship service, such as the south facing light corresponds to the pro-
cession, a fundamental part of the mass.

 The chapel is sited to form a new campus quadrangle green space to the north,
the west, and in the future, to the east. The elongated rectangular plan is espe-
cially suited to defining campus space as well as the processional and gather-
ing space within. Directly to the south of the chapel is a reflecting pond.

 In the Jesuits "spiritual exercises", no single method is prescribed - "different methods

helped different people...". Here a unity of differences is gathered into one. The light
is sculpted by a number of different volumes emerging from the roof. Each of these
irregularities aims at different qualities of light. East facing, South facing, West and
North facing, all gather together for one united ceremony.
  The city facing north light corresponds to the Chapel of the Blessed Sacrament and
to the mission of outreach to the community. The main worship space has a volume
of east and west light. The concept of Different Lights is further developed in the
dialectic combination of a pure colored lens and a field of reflected color within
each light volume. A baffle is constructed opposite the large window of each “bot-
tle of light.” Each of the baffles is back painted in a bright color; only the reflected
color can be seen from within the chapel. This colored light pulses with life when a
cloud passes over the sun. Each bottle combines the reflected color with a colored
lens of the complementary color.
 At night, which is the time of gatherings for mass in this university chapel, the light vol-

umes shine in all directions out across the campus like colored beacons. On occasion,
for those in vigilant prayer, light will shine throughout the night. The visual phenomena of
complementary colors can be experienced by staring at a blue rectangle and then a
white surface. One will see a yellow rectangle; thiscomplimentarily contri butes to the t
wo-fold merging of concept and phenomena in the chapel
 The concept of “Seven Bottles of Lightin a Stone Box” is expressed through the tilt-up
method of construction. The integral color tilt-up concrete slabprovides a more direct
and economical tectonic than stone veneer. The building’s outer envelopeis divided in-
to 21 interlocking concrete panels cast flat on the chapel’s floor slab and on the re-
flecting pond slab. Over the course of two days these panels were put in place by a
hydraulic crane, which strained at the ponderous weights of up to 80,000 lbs.
 “Pick pockets,” or hooks inset into thepanels were capped with bronze covers once
the panels were upright. Windows were formed as a result of the interlocking of the tilt-
up slabs,allowing the 5/8” open slab joint to be resolved in an interlocking detail.

WILLIAM MCDONOUGH
 Sometimes referred to as “the leading en-
vironmental architect of our time,” in his roles
as architect, designer, author, educator
and social leader, William McDonough
(born 20 February 1951) has provided a re-
newed look at the things that we make and
their impact on both our bodies and the
world. Through his Cradle to Cradle philoso-
phy, McDonough’s buildings are designed to
function for a predetermined lifespan, after
which they can be broken down into their
various parts whose core elements can be
used anew to solve a different design prob-
lem.

 Upon finishing his architectural education at Dartmouth and Yale, McDonough

opened his own firm, now called William McDonough + Partners, in 1981 in New York
City. Sustainability became a theme early in his career, with projects including the de-
sign of a solar house in Ireland, and in 1985, the commission for the first “green office” in
New York for the Environmental Defense Fund. The EDF brief called for strict air quality
requirements, prompting McDonough to begin his lifelong investigation into healthy ma-
 terials. McDonough’s design set in motion the trend of green building in the United
States and lead to the formation of the US Green Building Council.

 The subsequent decade saw further variations on sustainable design, with projects
ranging from Herman Miller’s “Greenhouse” Factory and Offices (1995); the Corporate
Campus for Gap, Inc. (1997); Nike’s European Headquarters (1999); and the Adam Jo-
seph Lewis Center for Environmental Studies at Oberlin College (2001) as well as
McDonough’s first treatise on sustainable design, The Hannover Principles: Design for
Sustainability in 1992. In 1994, McDonough moved his practice to Charlottesville, Virginia
after being named Dean of the School of Architecture at the University of Virginia.
 In 2002, McDonough co-authored Cradle to Cradle: Remaking the Way We Make
Things. The manifesto proposed to upend the traditional adage of “reduce, reuse, recy-
cle,” calling instead for materials to be “upcycled” at the end of their initial useful life
span. To design products able to be upcycled, materials should be composed of what
McDonough refers to as “technical” and “biological nutrients.” Technical nutrients con-
sist of materials that can be reused in a closed-loop industrial system, while biological nu-
trients refer to materials that can break down to reenter the environment.

 Since that breakthrough, McDonough has continued to focus on environmentally

and socially-conscious design, helping to establish criteria for the environmental mission
of Brad Pitt's Make It Right Foundation in their bid to provide architect-designed homes
for victims of Hurricane Katrina.

 Recent projects of McDonough’s have included ICEhouse (2016), a transportable

“wonderframe” that uses any available materials to create shelter; Method Manufac-
turing Facility (2014), a new factory for sustainable products on a Chicago brownfield
site; and the NASA Sustainability Base (2011), a “living laboratory” for the space pro-
gram that outperforms LEED platinum standards. McDonough is also the subject of Stan-
ford University's first "living archive," where nearly all of the architect’s daily moments are
recorded in an effort to change the way we as humans remember and record our daily
lives.

 Through his successes, McDonough has changed the discourse on architecture’s

relationship to the environment, a relationship he believes is only sustainable through a
symbiotic attitude: “What I’m trying to look at is how do we make humans supportive of
thenatural world, the way the natural world is supportive of us.”

WILLIAM MCDONOUGH - NASA SUSTAINABILITY BASE

 NASA and William McDonough + Partners have teamed up to create Earth’s first
high-performance space station. William McDonough stated, “Design is the first signal
of human intention.” With that in mind, the team set out to design a building that that
embodies NASA’s spirit, fosters collaboration, supports health and well- being, and
goes beyond LEED Platinum in its pursuit of Cradle to Cradle solutions.

 The innovative, 50,000 square-foot office building is located at the entrance to

NASA’s Ames Research Center in Moffett Field, California. The most iconic feature
of the building is its structure. Inspired by the wind tunnels of NASA Ames Campus
 and the images of NASA satellites, the exoskeleton approach gives the building
increased structural performance during seismic events, provides a framework for
daylighting and shading strategies, and creates a column-free interior space that
facilitates workplace flexibility.
 The building site is designed to be net energy positive. Through the two strategies of
optimizing energy demand and providing the needed supply through renewable
sources, the Sustainably Base’s overall goal is to rely only on renewable forms of en-
ergy as they become cost effective. Although natural daylighting and ventilation is
maximized, the building still hasan active heating and cooling system to maintain
comfort throughout the year. The highlighted energy systems used include the fol-
lowing:

 Ground Source Heat Pump:

1. 106 well bores, 58º F ground temperature year round

2. 4 heat pumps

 Radiant Heating/Cooling:

1. Radiant cooling ceiling panels, 40% less energy use than typical
VAV systems

2. Hot water radiant wall heating panels

3. Natural ventilation with automated windows to allowflushing

during evening hours

 Intelligent, High-Performance Lighting Systems:

1. LED fixtures in many areas of the building

 Sophisticated lighting control system automatically dims lights to adjust for ambient
conditions and time of day.

 Solar Photovoltaic and Thermal Panels:

1. 432 panels in 24 strings of 9 modules on each building (north and south)

2. Photovoltaic panels are designed to generate up to 30% of building

electricityrequirements
3. Solar thermal panels provide domestic hot water
 Bloom’s Energy ServerTM Solid Oxide Fuel Cells:

1. Solid oxide fuel cell currently utilizes natural gas as fuel; future plan for
methane capture.

 The overall water goal is to create a closed loop system that will allow water
that falls on the site to leave at the same rate, volume and cleanliness of prede-
velopment conditions. Water fixtures used throughout the building optimize per-
formance, including quality and quantity of flow and automated control sys-
tems.

 Groundwater reduces the demand for potable water. An existing facility to

pump and cleanse contaminated MEW groundwater is located near
the building site. Sustainability Base uses this cleansed water to irrigate the
landscape.

 A forward osmosis water recycling system, developed by NASA for use on the
International Space Station, purifies water to drinking quality.

 Intelligent landscape design includes native and drought-tolerant species se-

lection, drip irrigation systems and the design of water cleansing systems.
 The interior of the Sustainability Base actively supports the health and well-
being of all occupants. Large floor to floor windows and narrow building floor
plates provide excellent natural lighting deep into the interior of the building.
Modeling suggests users will only need to use the building’s electrical lighting
42 days out of the year. Second floor skylights provide additional natural light,
while exterior horizontal and vertical aluminum shades reduce heat gain and
mitigate glare.

 Super insulated exterior metal panel system with high performance glazing
provides a tight, warm envelope for cool Bay Area mornings. When the inte-
rior gets too warm, operable windows controlled by users and building
 management systems create gentle cross-ventilation. Localized heating or
cooling is provided by radiant panels, allowing for longer periods of natural
ventilation.

 A raised access floor throughout the open area allows for user and system
flexibility and is connected to a dedicated outdoor air system to provide
fresh air distribution when the building’s windows are closed.

 A rigorous materials selection protocol for Sustainability Base was implemented.

Strategies included:

 Material use considerations included utilizing an external braced frame to reduce

the amount of steel (by weight) in the building. The lightweight insulated metal
panel cladding also reduced the amount of material required for construction.
 Material health concerns resulted in a specification process that favored materi-
als that were beneficial to human health, ecological health, and were designed
for technical and/or biological cycles. When these materials were not available
due to performance requirements, remaining materials were evaluated for obvi-
ous risks to the biosphere.

 Material content considerations included recyclable/recycled materials, sal-

vaged materials, locally available and/or rapidly renewable materials and certi-
fied wood. The main components of the design (concrete, steel, glass, aluminum)
had high recycled content and were regionally available, thereby reducing
transportation energy.

 Design for disassembly was facilitated by choosing a steel structure (rather than
concrete) that can be easily dismantled as well as repaired after a seismic event.
Exterior cladding was provided in pre-fabricated unitized components.
 To assist with the achievement of a high-performance building, Sustainability
Base incorporates software developed by NA SA for projects such as the Mars
Rovers, Opportunity and Spirit. NA SA software has been adapted to monitor the
building through a wireless sensor network which will provide real time data to the
building controls system.

WILLIAM MCDONOUGH - MANUFACTURING FACILITY FOR

METHOD
 William McDonough + Partners has been selected to design Method’s first U.S.
manufacturing facility on a brownfield site in Chicago’s historic Pullman com-
munity. The company, known for producing environmentally conscious clean-
ing products, commissioned McDonough to design an ultra clean, LEED Plati-
num facility constructed from Cradle to Cradle Certified materials and pow-
ered entirely by renewable energy.

 “So often, in the first industrial revolution, factories were dirty. We have these
images of factories as gritty buildings with smokestacks—facilities that no fami-
lies would want in or near their neighborhoods,” explained William
McDonough.
 “Method’s new manufacturing home is a clean home—using clean energy,
water and materials to create innovative household products. The manifes-
tation of ‘industrial hygiene’ at this scale is beneficial to communities; it pro-
vides jobs and it is embodied by a facility that is a delightful neighbor—your
kids can play safely here. Entrepreneurial companies like Method are model-
ing a new, clean industrial model for our country. It’s a genuine pleasure to
work with them.”

 Equipped with refurbished wind turbines, solar photovoltaic tree-like car

canopies and solar thermal panels, the state-of- the-art site will also facili-
tate native land renewal across the 22 acres while extending into the sur-
rounding communities to enhance pedestrian access and connect workers
to mass transit opportunities.

 In addition to this, the team will focus on utilizing Cradle to Cradle Certified
building materials that are safe for human and ecological health, as well as
providing ample amounts of natural light and visual outdoor exposure for
their workers.
KENYEANG

 Ken Yeang is an architect, planner and ecologist who is best known for green archi-
tecture and masterplans that are driven by an ecology based approach and design
work with a distinctive green aesthetic that performances beyond conventional rating
systems.

 He trained at the AA School (Architectural Association) and received his doctorate

from Cambridge University on ‘ecological design and planning’,Yeang is celebrated as
a founder of the sustainable architecture movement.

 In 1995 he published his major theoretical work Designing with Nature that
evolved out his Cambridge thesis and it is one of the first texts on ecological architec-
ture.

 The fundamental underlying premise is that ecoarchitecture, if it is to fullyembrace

the natural world, must be designed to be ‘living constructed ecosystems’ and not inert
denatured structures.

 His key buildings include the Great Ormond Street Children’s Hospital Extension (UK),
Solaris (Singapore), National Library (Singapore), Mesiniaga Tower (Malaysia), Spire
Edge Tower (India), Genome ResearchBuilding (Hong Kong), Suasana Putrajaya (Ma-
laysia).
He is principal of T. R. Hamzah & Yeang Sdn. Bhd. (Malaysia) with offices in the UK

and China. The UK Guardian newspaper named him as one of 50 individuals who
could save the planet (2008).

KENYEANG - SPIRE EDGE OFFICE TOWER, MANESAR, GURGAON, INDIA

 Spire Edge office tower stands as an iconic landmark on a new IT park located in
Manesar, Gurgaon, India. The tower isa 21 storey building accommodating offices,
auditorium, gallery and other facilities.
 Ecoinfrastructure
 The key design feature of the iconic tower is a continuous green ecoinfrastructure at
the north façade, ascending up the tower through green ramps from the basement,
infusingit with an ecological and social terraces and garden and backdown on the
rear facade by a series of ramps around a meeting room.
 The greenery is brought up to the roof garden by a series of vertical landscaping sys-
tems, ie. vegetated green walls, green planter ramps with a pedestrian walkway,
and a series of sky terraces.
 The south facade of the building also has a continuous greenramp that brings pedes-
trian and vegetation from the groundall the way up to a lush roof garden located at
the top of theiconic tower and connects to the north façade green
 Eco infrastructure
 Water Infrastructure
 The tower is designed as a self sufficient water reuse/recycling system within the
building. Both of the green ramps act as a water filter/collecting device to channel
rainwater collected from the roof garden to the water tank located at the basement
of the building, hence being recycled and reused by the users of the building.
 Rainwater Harvesting/Recycling: The building's extensive landscaped areas are irri-
 gated via a large-scale rainwater recycling system. Rainwater is collected from the
perimeter landscaped ramps and roof garden. It is channeled and stored at the
lowest basement level, beneath the Eco-cell, and reused as recycled water within
the building.
 Eco-cells
 There are two eco-cells located at north and south side of the building where the spi-
ral ramps meet the ground and continue to the basement levels.
 The Eco-cells allow vegetation, daylight and natural ventilation to extend into the
car-park levels below.
 The lowest level of the Eco-cell contains the storage tank and pump room for
the rainwater recycling system.
 Sun-Shading Devices

 The project's climate-responsive façade design originated with the analysis of

the local sun-path. Facade studies analyzing the solar-path determined the
shape and depth of the sunshade louvers, which also double as light-shelves.

 The light shelves merge into single louvers at the north facade creating a slick
look for the façade. In conjunction with the south spiral landscaped ramp, north
green walls and ramps, and sky gardens, the sunshade louvers also assist in estab-
lishing comfortable micro-climates in habitable spaces along the building's exte-
rior

 Roof Gardens, Creative Meeting Spaces and Sky Courts

 The south spiral landscaped ramp acts as a thermal buffer protecting the
south façade from direct heat gain, and creates areas for relaxation and
event spaces. These extensive gardens allow for interaction between the build-
 ing's occupants and nature, offering opportunities to experience the external
environment housed within the towerand to enjoy views of the IT Park.

 As it reaches each corner of the building the spiral ramp leads the users into
Creative Meeting Spaces and terraces for multi uses. A series of sky courts at the
north façade also create an outdoor environment for the office users’ creative
and social interaction.

 Internal life

 The internal typical office spaces have large span floor beams to eliminate
any in-between columns. The floor configuration seeks to create a new form inter-
nal iife for its users, with occasional sky terraces linked to the eco infrastructure

PETER ZUMTHOR
 Peter Zumthor (born 26 April 1943) is a Swiss ar-
chitect whose work is frequently described as un-
compromising and minimalist.

 Though managing a relatively small firm, he is

the winner of the 2009 Pritzker Prize and 2013 RIBA
Royal Gold Medal.

 Zumthor was born in Basel, Switzerland. His father was

a cabinet-maker, which exposed him to design from an
early age and he later became an apprentice for a
carpenter in 1958.

 In 1966, Zumthor studied industrial design and architec-

ture as an exchange student at Pratt Institute in New
York. In 1968, he became conservationist architect for
the Department for the Preservation of Monuments
of the canton of Graubünden.

 This work on historic restoration projects gave him a further understanding of construc-
tion and the qualities of different rustic building materials. As his practice developed,
 Zumthor was able to incorporate his knowledge of materials into Modernist construc-
tion and detailing. His buildings explore the tactile and sensory qualities of spaces
and materials while retaining a minimalist feel.

 His best known projects are the Kunsthaus Bregenz (1997), a shimmering glass and
concrete cube that overlooks Lake Constance (Bodensee) in Austria; the cave-like
thermal baths in Vals, Switzerland (1999); the Swiss Pavilion for Expo 2000 in Hannover,
an all-timber structure intended to be recycled after the event; the Kolumba Dioce-
san Museum (2007), in

PETER ZUMTHOR - KUNSTHAUS BREGENZ, AUSTRIA (1997)

 The Kunsthaus museum in Bregenz, Austria is always in a constant state of flux al-
ways changing its exhibition spaces to accommodate international contempo-
rary art. Zumthor’s minimalist design adapts its spaces to the art that is showcased
in its exhibits creating a coexisting and redefining relationship between art and
architecture.

 The Kunsthaus Bregenz has two main principles to their permanent collection:
archives of art architecture and a collection of Contemporary art, which com-
plements the changing exhibition spaces. The museum strives to be the intersec-
tion of art and architecture that opens itself to culture and international influence.
 "The art museum stands in the light of Lake Constance. It is made of glass and
steel and a cast concrete stone mass which endows the interior of the building
with texture and spatial composition. From the outside, the building looks like a
lamp. It absorbs the changing light of the sky, the haze of the lake, it reflects light
and colour and gives an intimation of its inner life according to the angle of vi-
sion, the daylight and the weather." - Peter Zumthor

 The minimalist structure stands as a light box that absorbs, reflects, and filters
light across the façade and throughout the building.

 The facades etched, translucent glass glows as it is illuminated by the

sunlight, or the interior lighting, becoming a dynamic part of the building as it re-
acts differently according to the light, time of day, weather, and the surrounding
context.
 The light that is captured by the glass façade gets filtered through a light ple-
num that catches and distributes the light through the gallery spaces. The plenum
creates atmospheric conditions within the gallery spaces that have a conditional
relationship with the exterior, and vice versa.

 The interior of the museum complements the exterior simplicity and minimalist
aesthetic. The gallery spaces are composed of materials that are minimal in de-
sign,but highly effectual in detail and atmospheric conditions.

 The walls and floor are made of polished concrete, and the ceiling, that filters
the light from the plenum, is made of frosted glass. The basic materials of the inte-
rior give the gallery spaces a stark, cold feeling that works to accommodate the
art working in the space.

 When the light enters through the plenum, the polished concrete seems to
dematerialize and wash away allowing for the closed off galleries to become
flooded with light.

 The interior works as a fusion between art and architecture that although ex-
tremely different in materiality and composition, the mixture of combination of dif-
fused natural light and the neutral material palette come together cohesively as a
contemporary art museum where art nor architecture overshadow the other.

 The buildings structure is minimalist and reductive in the sense that only three
walls support the museum and all of its floor plates. The three concrete walls en-
close the gallery spaces and section off the circulation spaces to the perimeter of
the building creating a building of seclusion and openness all in one.
PETER ZUMTHOR - THE THERMEVALS, SWITZERLAND (1996)

 Built over the only thermal springs in the Graubunden Canton in Switzerland, The
Therme Vals is a hotel and spa in one which combines a complete sensory experi-
ence designed by Peter Zumthor.
 Peter Zumthor designed the spa/baths which opened in 1996 to pre date the ex-
isting hotel complex. The idea was to create aform of cave or quarry like structure.
 Working with the natural surroundings the bath rooms lay below a grass roof
structure half buried into the hillside. The Therme Vals is built from layer upon layer
of locally quarried Valser Quarzite slabs. This stone became the driving inspiration
for the design, and is used with great dignity and respect.

 “Mountain, stone, water – building in the stone, building with the stone, into the
mountain, building out of the mountain, being inside the mountain – how can
the implications and the sensuality of the association of these words be inter-
preted, architecturally?” Peter Zumthor
 This space was designed for visitors to luxuriate and rediscover the ancient
benefits of bathing. The combinations of light and shade, open and enclosed
spaces and linear elements make for a highly sensuous and restorative experi-
ence.
 The underlying informal layout of the internal space is a carefully modelled path of
circulation which leads bathers to certain predetermined points but lets them ex-
plore other areas for themselves. The perspective is always controlled. It either en-
sures or denies a view.
 “The meander, as we call it, is a designed negative space between the blocks, a
space that connects everything as it flows throughout the entire building, creating
a peacefully pulsating rhythm. Moving around this space means making discov-
eries. You are walking as if in the woods. Everyone there is looking for a path of
their own.” Peter Zumthor
 The fascination for the mystic qualities of a world of stone within the mountain, for
darkness and light, for light reflections on the water or in the steam saturated air,
pleasure in the unique acoustics of the bubbling water in a world of stone, a feel-
ing of warm stones and naked skin, the ritual of bathing – these notions guided
the architect.
 Their intention to work with these elements, to implementthem consciously and to
lend them to a special form was there from the outset. The stone rooms were de-
signed notto compete with the body, but to flatter the human form (young or old)
 and give it space…room in which to be.

JUHANI PALLASMA
 During his wildly prolific career, Juhani Pallasmaa
has designed more than buildings. Through books,
essays, and lectures, Pallasmaa has created
an empire of ideas. Many young architects
have been inspired by Pallasmaa's teaching and
his classic text.

 Architecture is a craft and an art to Pallasmaa. It

has to be both, which makes architecture an "im-
pure" or "messy" discipline. Juhani Pallasmaa has
 formulated and described the essence of archi-
tecture all of his life.

 Philosophies: He promotes a back-to-basics, evolutionary approach to architecture

that has become revolutionary in the 21st century. He told interviewer Rachel
Hurst that computers have been misused to replace human thought and imagina-
tion:

 "The computer has no capacity for empathy, for compassion. The computer cannot
imagine the use of space. But the most important thing is that the computer cannot
hesitate. Working between the mind and the hand we often hesitate, and we reveal
our own answers in our hesitations."

 In spite of the many architecture projects he has completed, Pallasmaa may be

best-known as a theorist and educator. He has taught at universities all over the
world.

 He has written and lectured extensively on cultural philosophy, environmental psy-

chology, and architectural theory. His works are read in many architecture class-
rooms around the world.

Some examples:

Questions of Perception: Phenomenology of Architecture by Steven Holl, Juhani

Pallasmaa, and Alberto Perez-Gomez
 In terms of architectural production, the work Juhani Pallasmaa has undergone a
shift during his career. His early career is characterised by concerns with rationalism,
standardization and prefabrication.

 Pallasmaa's first key work demonstrating these principles was the Moduli 225 (with
Kristian Gullichsen), an industrial-produced summer house, 1969-1971, of which
around six were built in Finland. However, the key models for this type of architecture
were both Japanese architecture and the refined abstractions of Ludwig Mies van
der Rohe.

 In Finland, Juhani Pallasmaa is known as a Constructivist.

 But the interest in Japan also contained the seeds for Pallasmaa's later concerns;
materiality and a phenomenology of experience. It was after returning from teach-
ing in Africa that Pallasmaa turned away from pure constructivism, and took up his
concerns with psychology, culture, and phenomenology.

 His concern for details and small works such as exhibition design has sometimes
earned him the label "jewel-box architect".

 2006 saw the completion of his largest ever work, the Kamppi Center, incorporating
the main bus station, a shopping centre and housing in central Helsinki, though the
work was split up into different sections involving various architects, and overall de-
sign was under the control of architects Helin & Co
 Works : Pallasmaa became universally known through his lectures and books on ar-
chitectural theory and his interest in phenomenology. In his widely read 1996 book
"The Eyes of the Skin. Architecture and the Senses." he stresses the importance of ex-
perience in architectural production which today is neglected by most practitioners.
Juhani Pallasmaa is currently a member of the Pritzker Prize Award jury.

ARCHITECTURAL WORKS:

2003 to 2006: Kamppi Centre, Helsinki.

2004: Snow Show (with Rachel Whiteread), Lap-

land

2002 to 2003: Bank of Finland Museum, Helsinki

2002: Pedestrian and cycle bridge, Viikki Eco-

village, Helsinki

1989 to 1991 Major extensions to Itäkeskus Shop-

ping Centre, Helsinki

1990 to 1991: Outdoor spaces for Ruoholahti

Residential Area, Helsinki

1986 to 1991: Institut Finlandais (with Roland

Schweitzer), Paris
1987: Phone Booth Design for Helsinki Telephone Association

1986: Renovation of Helsinki Old Market Hall, Helsinki

1984 to 1986: Renovation of the Art Museum in Rovaniemi

1970: Summer atelier of artist Tor Arne, Vänö Island

JUHANI PALLASMA - MODULI 255, HELSINKI, FINLAND

Ar Tharangini AMSAA
 The project Moduli 225 initiated in 1968 by Kristian Gullichsen and Juhani Pallasmaa
takes its name from the basic dimension of the geometric module that organizes the
225 cm.

 These houses are built of wood, steel and glass. A

 The cubic module forms the edges of the structure and each of these frames is di-
vided into three parts of 75 cm, which can accommodate panels of this dimension:
these may contain solid wall panels, doors, windows.
 The roof is flat and is constructed with panels made of two layers of wooden board
including insulation glass wool.
 Although the design was initially earmarked for summer cottage, the house has
been widely used as a primary residence. Through this system of prefabrication sixty
houses were built between 1969 and 1973.
 The first was the summer residence of one of its creators, Kristian Gullichsen,
on the outskirts of Helsinki.
 The foundation is solved with adjustable metalsupports, so that the need for on-site
work to support the home is avoided.
 The adjustable supports can absorb topographic differences of up to 1.5 m. The as-
sembly time for the most basic housing was two days and the price was affordable.
 The roof is flat and is built with panels formed by two layers of wooden board be-
tween which the thermal insulation of glass wool is placed, and they have a solid
wood piece that works as lateral reinforcement between boards.
 The roof panels support the beams and alternate their placement direction. Their
section is greater than that of the wall modules and they have battens that allow fix-
ing the ceiling cladding. This solutionalso provides a groove to house the pipes,
which run under the beams.
Although the design was originally intended for a summer country house,
the house has been widely used as a first residence.
JUHANI PALLASMA – KAMPPI CENTRE, HELSINKI, FINLAND
 Kamppi Centre is a complex in the Kamppi district in the centre of Helsinki, Fin-
land, designed by various architects,the main designer, however, being Juhani
Pallasmaa.
 It is said to be Helsinki's new downtown commercial and residential centre. As a four-
year construction project, it was the largest singular construction site in the history of
Finland, involving the extensive and difficult redevelopment of the Kamppi district in
downtown Helsinki.
 The Kamppi Centre combines the commercial need for streamlined, optimized
shopping environment with the necessary supply of customers by maximum acces-
sibility and mobility. One of the first of its kind in Europe, the centreconsists of:
I. Central bus terminal for local buses
II. Long-distance coach terminal (underground)
III. Kamppi metro station (underground)
IV. A freight depot (underground)
V. Internal parking area (underground)
 6 floor shopping centre with a supermarket, shops, restaurants, night clubs and ser-
vice points.
 The entire complex was opened in stages, with the new metro station entrance
opened on 2 June 2005, the central bus terminal on 5 June, the long-distance bus
terminal on 6 June and the shopping centre opened on 2 March 2006.

 The appearance of the building is a reflection of the main architect Juhani

Pallasmaa's ongoing interest in Constructivistarchitecture and Structuralist
architecture,as if the building functions as a machine.

 The project comes from an international competition the City of Helsinki

held in 2002 to redevelop the Kamppi area, which was underused.

 One of the main aims was to move the busterminal underground to use
the space more efficently. There were particularconstruction challenges
building in the heart of the city over an operating subway,demanding ex-
ceptional cooperation between planners, authorities
GLENN MURCUTT

 Murcutt is one of Australia's best-known archi-

tects, and the only Australian winner of the
prestigious Pritzker Prize, which he won in 2002
in recognition of his innovative and environ-
mentally sensitive buildings.

 Murcutt, who was a born in London in 1936

before moving to Sydney with his parents at
the age of five, established his small practice
in 1970.

 He built his reputation creating a succession

of sustainable houses across Australia, before
building cultural buildings including the Arthur
and Yvonne Boyd Education Centre near
Sydney and the Australian Islamic Centre.

 Glenn Murcutt is a modernist, a naturalist, an environmentalist, a humanist, an

economist and ecologist encompassing all of these distinguished qualities in his
practice as a dedicated architect who works alone from concept to realisation of
his projects in his native Australia.

“When you draw with pen or pencil you can pass emotion in that. You can feel it be-
cause you are visualizing what you’re drawing. It’s not just aline on paper, a line repre-
sents the beginning of space, and to visualize is the most critical aspect for an architect,
to be able to think in those 3 dimensions. The pen or pencil achieve that. It is the same
for many people that write poetry… How would you get any emotion out of a mouse?
You’re not going to get any emotion because it is totally devoidof it."
GLENN MURCUTT + ELEVLI PLUS - AUSTRALIAN ISLAMIC CENTRE

Front view

Roof
view
 It is the first truly contemporary Australian mosque, the Australian Islamic
Centre in Newport, Melbourne, is an architectural and social marker of a new
perception of Islam in Australia.

 By respectfully recalibrating historical Islamic design conventions for contempo-

rary Australia – a country with a well-established and growing Muslim population –
this project heralds a new interpretation of mosques as a future part of our
suburbs.
 In designing this building, Pritzker Architecture Prize-winning architect Glenn
Murcutt has drawn on modernist principles while responding to the project’s
community and traditional contexts.

 Through the transparency and openness of its formal design, this mosque offers
a new look inside walls traditionally closed to outsiders, and thus acts as a form
of communication in itself.

 The brief was for a modern and Australian building that would contribute to a
positive interpretation of the mosque as a welcome architectural feature of sub-
urban Australia.

 His design for the building draws from the functional and semiotic language of
traditional mosque architecture, considering fundamentals such as the orienta-
tion towards Mecca of a mihrab (niche) within a qibla wall; a large hypo-
style (columned) central prayer hall; bodies of still water; provision of facilities for
ablutions completed prior to prayer; and separate spaces, as required culturally,
for men and women.

 The building is organised as a set of interconnecting spaces arranged across

two levels. A congregational hall, library, cafe, commercial kitchen, and
sporting hall occupy the ground level, and the first floor, accessed via dedi-
cated arrival stairs, provides a set of elevated spaces for women.

 Murcutt’s design also deviates from time-honoured design principles in

important ways: it negates the need for a high domed roof, instead offer-
ing a facade that favours transparency over enclosure, and reimagines the
form of the minaret – the tower from which the call to prayer was tra-
ditionally announced – as an elevated wall demarcating an arrival court-
yard.

 The expansive verandah offers a generous gathering space reminiscent

of traditional mosque sahn courtyards and provides additional space
for large congregations, such as those that gather during Eid prayer.
 To the south, the courtyard and verandah are bordered by a slender water
pond and shielded on one side by the expansive minaret wall. Beyond the
verandah, glass doors open directly onto the double-height volume of the
main prayer hall. A clear line of sight is maintained from outside the
mosque right through the prayer hall to the main mihrab, qibla wall,
and water gardens
 Murcutt’s design for the Australian Islamic Centre arranges twenty-four steel columns
to create three bays from east to west and three from north to south, reflecting tradi-
tional mosque geometry.
 A reflective water courtyard to the west and fifty-five three-metre high roof-
mounted lanterns naturally illuminate the main prayer hall. Glazed in colours sym-
bolic to Islam (yellow, green, blue and red), these lanterns face the four points of
the compass, drawing triangles of coloured daylight into the building in an ever-
changing pattern determined by the sun’s movement.
 Drawing upon the long history of mosques as part of the built fabric of Australia’s
multicultural and multidenominational society, the Australian Islamic Centre has
deep significance for its community.
 It symbolises the maturity, vibrancy and permanence of their congregation while also
offering a physical and visual manifestation of a new dialect for Islamic architecture.
GLENN MURCUTT – WALSH HOUSE, KANGAROO VALLEY,

AUSTRALIA
 Walsh House stands on open grassland, with its principal façade addressing a forest-
ed ridge to its north, and with its long axis directed precisely towards a large knoll of
rock in the distance, to its east.
 As at a number of other houses by Murcutt, the roof projects deeply to shield the
upper, north-facing windows from direct summer sun, allowing these windows to be
unscreened, and to frame the view of the ridge clearly throughout the year.
 Walsh House is not conceived as a single, fluid, interior space but as a series of con-
nected rooms, each clearly identified from the outside by an individual glazed
bay, protected by adjustable louvres, which allows the user to individually adjust the
daylighting of their room. Each bay is intended for variable use, as for example a
day-bed, writing desk, or small greenhouse.
 The house presents four very different faces. Its southern and western elevations,
facing the cold south-western winds of winter, have the character of a working
farmhouse, crafted in rustic materials, with a few windows. The northern and
eastern façades areof far more refined materials and detailing, and are more open
to the luxuriant surrounding view.
 “The design aspect has allowed the house to be entirely one room in width so that
Glenn's unique system of cross ventilation can operate throughout the house.”
  The dining room/kitchen is the only room in the house with both a northerly and
southerly aspect.
 The large southern window frames a view of the ancient tree which surmounts the
adjacent hillock, and a small corner window frames a selected, diagonal south-
easterly view, past the water tanks, which reveals the sloping form of the land.
 The two ultimate windows of the north façade can be slid back, and the glazed
eastern end-wall can be slid completely away to the south side of the house.
 This both unites the sitting room with the veranda and sets up a north-easterly
diagonal view across a shallow, tranquil pond which plays reflected patterns of
sunlight onto the canopy ceiling, and tempers the heat of the summer air.

LARGE SCALE CHANGES IN INDIA FROM THE 90S.

 After 1990s the country has undergone pro-
found political andsocioeconomic changes.
 Over the last twenty years, since it adopted lib-
eral economic policies, India has witnessed a
pivotal acceleration in growth and more is in
sight with current figures indicating that it may
well outdo China.
 India has become a global economy. It is one
of the leading software exporters and its tech-
nically skilled workforce land good jobs
around the world.
  Foreign investment in a variety of sectors has helped construction activities. Interna-
tional financial institutions such as the Japan Bank for International Cooperation
have backed several projects, including Amaravati, on relatively favourable terms.

OUTLINE OF POST 1990S ARCHITECTURE OF INDIA.

 The architectural development in India cannot be categorised as Modern, Post-

modern, New Pragmatism and so on. Its because of the fact that contemporary ar-
chitecture in India can no longer be understood through Western viewpoint.

 Gandhi and Nehru, as political philosopher Bhikhu Parekh remarks, were critical
traditionalist and critical Modernist respectively. Both understood that neither tradi-
tion nor modernity were sufficient in themselves. Indian Architects growing up in this
environment could not entirely embrace either; they searched to find their bal-
ance.

 These practices are not mere counter examples; they represent a committed
search for ameaningful architecture.

 Innovation

 Young architects who have inherited this legacy no longer conceptualise them-
selves or their works in stifling categories. They increasingly address issues from first
principles and their practice is reflective and grounded at the same time.

 There is a diverse and healthy crop of talent, from Sameep Padora of sP+a and his
Buddhist Centre in Sakarwadi, the Book Building in Chennai by MOAD, Health Care
Centre in Dharmapuri by Flying Elephant Studio, the Alila mixed use development in
Bengaluru by Hundredhand, DCOOP’s student hostels in Kadapa, Surya Kakani’s of-
fice and Anthill Design’s pavilion both in Ahmedabad, SEA’s Sai Temple in
Vennached , Abin Chaudhuri’s management institute in Bhubaneswar and the De-
partment of Life Sciences in Chennai by Architecture Red, to name a few.

 These practices are about sensibility, possibilities and exploration.

 The practice finds past ways of addressing context and form inadequate. They try
to innovate rather than remain trapped in old ideas of regionalism.
Buddhist Centre in Sakarwadi

Health Care Centre in Dharmapuri

OUTLINE OF POST 1990S ARCHITECTURE OF INDIA.

CHALLENGES

 Diminishing demand for good design.

 Despite the emergence of these creative practices, the demand for good de-
sign is yet to grow substantially. Without this, as Charles Correa presciently re-
marked, we have meaningless construction rather than quality architecture.

 This is evident in the manner the state, the largest builder, chooses design or
recognises quality. Either it settles for mediocrity (more on that later) or it is se-
duced by star architects.

 The awarding of the capital complex design of Amaravati – the new capital
city of Andhra Pradesh – is an example of the latter.

 They don’t acknowledge the changing conditions of architectural practice in the

country. Instead of looking at this new city, coming as it does 60 years after Chandi-
garh, as a significant opportunity to set new directions in planning and rejuvenate
the public interest in architecture, the state settled on iconic names and forms.
THE FUTURE:
 A silver lining is the work of sP+a; prin-
cipal architect Padora has extensive-
ly studied the old chawl housing in
Mumbai and tried to develop a
convincing, empirically based criti-
cism of the deplorable slum rede-
velopment.
 In his housing projects, he has crea-
tively incorporated features drawn
from his research. They demonstrate
how simple design moves can sub-
stantially enhance living conditions.
 It remains to be seen whether such efforts will cascade and have a wider impact
on social housing.
 For Indian architecture, the path is promising, but there are obstacles.
 Padora says architects must ‘simultaneously and with an open mind engage with re-
search, practice, collaboration and advocacy if they are serious about converting
opportunities to meaningful change’.
 As much as there are numerous bright possibilities in India, the promise is entan-
gled with paradox. Much of the future of Indian architecture will depend on how ar-
chitects and society navigate these challenges.

1. Another issue is the division of intellectual labour between foreign and local firms.

• Often the low scale of fees means foreign companies produce the concept and
take a disproportionately large slice of the money pie.

• For them, the pay is insufficient to execute the project completely, so local firms
end up dealing with the nuts and bolts for a relatively small fee.

• Working with star firms may provide the opportunity to engage with new ideas,
but do Indian companies want to remain an architectural back office or call
centre forever? The way forward is to negotiate a mutually enriching collabora-
tion between all partners.
2. Another challenge is to widen the constituency for good design.

• The best architectural talent is nurtured by the limited number of commissions

for private homes and institutions.

• For most property developers, a building is a means to maximise profit!

• With few exceptions, IT companies are the most disappointing clients, with their
out ofcontext buildings.

• Peter Scriver and Amit Srivastava describe the post1990s Architecture in India
as having
‘lost the capacity to engage sensibly and poetically articulate’.

• In this context, architectural institutions have not been effective in rallying for
qualitybuildings.
3. Another challenge is to widen the constituency for good design.
 The best architectural talent is nurtured by the limited number of commis-
sions for private homes and institutions.
 For most property developers, a building is a means to maximise profit!
 With few exceptions, IT companies are the most disappointing clients, with
their out ofcontext buildings.

 Peter Scriver and Amit Srivastava describe the post1990s Architecture in In-
dia as having
 ‘lost the capacity to engage sensibly and poetically articulate’.

 In this context, architectural institutions have not been effective in rallying for
qualitybuildings.
4. Rising inequality and disproportionate income levels have created
geographies of difference within cities.

While some are privileged and receive investment and infrastruc-

ture, other substantial areas await attention.

Land prices have risen steeply and rendered many housepoor. The
death of social housing is only too visible. In the last two decades, there
has not been a single notable, well designed social housing project.

5. Rapid urbanisation and voluminous construction have brought with

them environmental and social challenges.
 The scale of development has put a strain on resources.

i. In many cities, governments have started to impose re-

strictions on the use of materials such as sand. In its place, al-
ternatives such as quarry dust are encouraged.

ii. Liberal economic policies have increased this problem.

iii. New materials have been discovered, Choice has expanded, but
many of these materials offer poor environmental performance.

iv. Given the pressing energy consumption and climate change

issues, architects cannot make design decisions only against
the horizon of aesthetics or convenience. An environmentally
sensitive design culture is imper