CONTEMPORARY

ARCHITECTURE
SUBMITTED TO: AR. PAVNEET KAUR
SUBMITTED BY: ROHINI PRADHAN
1601157
B.ARCH 6TH SEM
A.P GOYAL SHIMLA UNIVERSITY
RICHARD ROGERS
INTRODUCTION
■ Full name is Richard George Rogers
■ Born 23 july 1933 in Florence,Italy.
■ Attended the Architectural Association School of Architecture in London, before graduating from Yale School of
Architecture in 1962.
■ After working with Piano and Foster, Rogers established the Richard Rogers Partnership in 1976.
■ This became Rogers Stirk Harbour + Partners in 2007.
■ The firm maintains offices in London, Barcelona, Madrid, and Tokyo.
■ Richard Rogers and colleague Norman foster worked with their respective wives Sue Rogers and Wendy Cheesman. They
quickly earned a reputation for high-techindustrial design
■ Presently, a chief advisor on architecture and urbanism to the mayor of London.
■ Recently, appointed chair to the greater London authority’s design for London advisory group.
■ Also serves as advisor to the mayor of Barcelona urban strategies council. Currently, a trustee of the museum of modern
art in New York.
 AWARDS
■ RIBA Gold Medal (1985)
■ Financial Times ‘Architecture at Work’
Award (1987)
■ Civic Trust Award (1987)
■ Concrete Society Commendation (1987)
■ Thomas Jefferson Medal (1999)
■ Stirling Prize (2006), (2009)
■ Minerva Medal (2007)
■ Pritzker Prize (2007)
PHILOSOPHY
■ ARCHITECTURAL THEORIES/ BELIEFS“ technology cannot be an end in itself but must aim at
solving long term social and ecological problems.”
■ MAIN PRINCIPLE“ emphasis to the social and urban dimension of architecture, as well as in
sometimes brilliant synthesis with detail and structure to create architecture with a powerfully
inventive character.”
■ He had a very environmental conception of designs.
■ The notion of social integration is one of the other most important points of the Richard Rogers’
architectural concept.
■ According to him social problems can find solutions in the construction of “compact cities with
multiple centers”.
■ His architectural philosophy’s topics are - legible, transparent, lightweight, systems, urban, public
and green.
WORKS
■ Centre Georges Pompidou
■ Lloyd's building
■ Millennium Dome
■ European Court of Human Rights
■ Madrid-Barajas Airport terminal
LLOYD’S BUILDING LONDON
■ Location: London, UK
■ Date: 1978 to 1986
■ `Area: 55,000 m²
■ Client: Lloyd’s of London
■ Building Type: commercial, corporate
headquarters Construction System steel frame
with glass curtain wall
■ Climate: temperate
■ Context: urban
■ Style: High-Tech Modern
■ Notes: Expressed structure and exposed
services as ornamental order
 PLAN
1
2 2
5
3

4 7
8
6
1. Boiler
2. Substation
3. Generator
4. Chillers
5. Maintainance 9
Staff 11
6. Air Handling Plant
7. Strong Room 11
10 10
8. Goods Lift
9. Vehicledock
10.Vehicle Lift
SECTION
1. Reception
2. Exhibition
3. Underwriters 7
4. Viewing Gallery 6
5. Atrium 6
6. Office 5 6
7. Roof Terrace 6
8. Cloakrooms 6
9. Plant 6 4
3
3
3

3
2 1
8
9
LLOYD’S BUILDING, LONDON
■ Home of the insurance
institution Lloyd's of London and
is located in lime street, in the
city of London.
■ Like the Pompidou centre, the
building was innovative in having
its services such as staircases,
lifts, electrical power conduits
and water pipes on the outside.
■ In July 2013, it was sold to the
Chinese company Ping An
Insurance for a reported £260
million.
■ It is normally closed to the Lloyd’s Building (with the
public, but does open bluecranes), London, with Swiss
occasionally for tours, most retowers behind.
commonly during the annual
Open House London event.
DESIGN
■ Richard Rogers Partnership (RRP, now Rogers Stirk Harbour + Partners RSHP)
proposed a building in which the dealing room could expand or contract according to
the needs of the market, by means of a series of galleries around a central space. To
maximise space, services were located exterally. As the architectural form of the
building evolved, particular attention was paid to its impact on the surrounding area,
especially the listed 19th century Leadenhall Market. As a result, Lloyd’s became a
complex grouping of towers.
■ The building consists of three towers, each with their own service tower, which
surround a central 60-metre high atrium that houses the main Underwriting Room
and is naturally lit by a barrel-vaulted glass roof that took its inspiration from Joseph
Paxman’s Crystal Palace.
■ Its focal point is the gigantic Underwriting Room on the ground floor, which houses
the famous Lutine bell.
■ The building features 12 glass lifts that were the first of their kind in the UK.
■ The Lloyd's building height is
approximately 88m and features 14
floors.
■ Each floor can rapidly and easily be
altered with the addition or removal of
partitions and walls.
■ Criss-crossing the atrium are a series of
escalators intended to create a sense of
the circulation between the floors.
■ The first four galleries open onto the
atrium space, and are connected by
escalators through the middle of the
structure. (The higher floors are
glassed-in, and can only be reached via
the outside lifts.)
LUTEN BELL
 MILLENIUM DOME,GREENWICH
■ Location: London, England
■ Building Type: Arena
■ Architectural Style: Dome
■ Structural System: Steel &
tensioned fabric
■ Construction Completed: 2000
■ Design Team Architect: Richard Rogers
■ Structural engineer: Buro Happold
 MILLENIUM DOME,GREENWICH
■ Later known as THE O2
■ Large dome shaped building on the Greenwich
peninsula.
■ Come constructed to hold a major exhibition
celebrating the beginning of third millennium.
■ This exhibition opened to public on January1, 2000
and ran until December 31, 2000.
■ Since the closure of the original exhibition, several
possible ways of reusing the building have been
proposed and then rejected.
■ 2005, May dome transits into an indoor sporting
arena.( in this role the plan is to host the
2009world gymnastics championship and the
artistic gymnastics and trampoline events of 2012
summer olympic games.)
MILLENIUM DOME,GREENWICH
STRUCTURE AND CONSTRUCTION
■ Largest single roofed structure in the world.
■ The structural concept of the roof is of
tensioned radial stringer cables which
support the fabric and run between the
innerring and the concave curve of the
fabric edge.
■ Externally it appears as a large white
marquee with twelve 100 m-high yellow
support towers, one for each month of the
year, or each hour of the clock face,
representing the role played by Greenwich
Mean Time.
■ In plan view it is circular, 365 m in diameter
—one meter for each day of the year — with
scalloped edges.
 ■ It has become one of the United Kingdom's most
recognizable Landmarks.
■ The entire roof structure weighs less than the air
contained within the building.
■ Although called a dome it is not strictly one as it is
not self-supporting, but is a mast-supported,dome-
shaped cable network.
■ The canopy is made of PTFE coated Glass fiber
fabric, a durable and weather-resistant plastic, and is
50 m high in the middle.
■ Its symmetry is interrupted by a hole through which a
ventilation shaft from the Blackwall Tunnel rises.

SUSTAINABLE
 The Millennium Dome was the first major visitor attraction in the world not to have a car park.
It was serviced instead by a new Jubilee line station, bus services and river ferries.
 The Dome formed part of a ‘watercycle’. Rain water from the Dome roof was collected, filtered
through reed beds in the landscape and used to flush the toilets. Waste from the toilets was
then dried and burned to produce electricity which was used to power the Dome.
■ The Dome is neither a true dome, nor a conventional
fabric structure, it is a cable net structure, clad with
flat fabric panels. The Dome is 52m at its peak, is
supported by 12 masts 100m high and 72km of
cables. It includes a large cut out section that
accommodates a ventilation shaft from the Blackwall
Tunnel.
■ The Dome fabric is a PTFE coated glass fibre fabric.
There are in fact two layers of fabric, in order to
provide some insulation between the inside and
outside and to reduce the likelihood of condensation.
■ the Dome contained a number of exhibitions or
‘zones’.
■ In the centre of the Dome, there was a major
performance area housing the Millennium Show, with
seating for 5,000 and space for 7,000 standing
spectators.
 Hasmukh C. Patel
(7 December 1933 – 20 January 2018)

“When something no longer serves

the purpose, it should be suitably
modified.”
 HISTORY
■ Hasmukh C. Patel was born in 7 December 1933 in village Bhadran, Gujart.
■ Died on 20 January 2018 (aged 84) Ahmedabad, Gujarat, India .
■ He lived in Vadodara with his father Chandubhai Rambhai Patel, mother Shantaben and grew up with five
siblings.
■ His father was an engineer who ran a small construction business and Patel would often visit the sites that he
was working on.
■ His Father wanted him to become an Architect.
■ He pursued a Bachelor's degree in Architecture at Maharaja Sayajirao University of Baroda and graduated in
1956.
■ He left India to study further at Cornell University, Ithaca, New York and graduated with a master's degree in
Architecture in 1959.
■ He travelled a lot within USA to visit the works of the Masters like- F.L Wright, Louis Sullivan, Mies Van Der
Rohe.
■ He returned to India and joined the architectural firm of Atmaram Gajjar in Ahmedabad.
■ In 1961, Patel started his own architectural firm under the name of M/s Hasmukh C. Patel, now known as
HCP Design Planning and Management at Ahmedabad that is now run by his son and another architect..
■ Through the 1970s and ’80s, Patel's practice grew rapidly and moved to bigger offices, making it possible for him to have a setup with
facilities and a layout that fully supported the working style that he believed in.
■ In 1988, the practice shifted to Paritosh in Usmanpura, Ahmedabad, a building built by him, which houses the practice till date.
■ He was a distinguished professor and Dean Emeritus at CEPT University.
■ He was a visiting professor at the University of British Columbia, Vancouver and the University of Bristol,UK.
■ His work has been featured in numerous journals and books across the globe including India, UK, USA, France, and Italy.
■ He was married to Bhakti Patel and have two children — Architect-planner Bimal Patel who leads HCP Design, Planning &
Management Pvt. Ltd and Architect Canna Patel who leads HCP Interior Architecture Pvt. Ltd.
■ His work covered a diverse range of projects — townships, industrial units, hotels, hospitals, housing, public buildings, commercial
complexes, academic institutes, cinemas and sports facilities.
■ In a career spanning four decades, he designed 300 buildings, including famous ones such as the St. Xavier’s Primary School, The
State Bank Of India, Reserve Bank of India, Newman Hall, Bhaikaka Bhawan, and Shyamal Row Houses- all in Ahmedabad.
■ But his works in Bihar, Udaipur, Rajkot ad Kolkata are just remarkable.
■ He demonstrated that the expressive model could be used to make profitable buildings which would be an architectural asset to the
city.
■ He was one of the most successful architects and teachers that India has ever produced in the post-Independence era.
■ Pre-cast concrete, slip-form construction, advanced theater projection and acoustic systems and space frames that bound clarity of
such radical techniques to his own context
AWARDS

■ 1992: Aga Khan Award for Architecture .

■ 1997: National CDC Awards.
■ 1998: Baburao Mhatre Gold Medal for Life Time Achievement, Indian Institute of
Architects
■ 2000: Great Master's Award by J. K. Cement for his contribution to architectural
profession
■ 2003: The Prime Ministers National Award for excellence in Urban Planning and
Design
■ 2011: Lifetime Achievement Award, Architects and Interiors India Awards
PHILOSOPHY
■ HCP’s design philosophy is rooted in the belief that design is the search for elegant and sustainable
solutions to practical problems.
■ While focusing on clients’ stated objectives it also queries them to correctly formulate the range of
diverse problems that any project poses. It then provides leadership to a collaborative design
process.
■ HCP believes that design and building projects require both, a rich collaboration amongst many
design, construction and management professionals and workers and an effective leadership that
can provide a vision for that collaboration.
■ Inspite of designing numerous outstanding buildings, Hasmukh Patel rarely spoke about his approach to
design.
■ He himself explained, “I don’t think I have in mind a particular theory or philosophy that helps me design
buildings. The human being is at the center of my Creative efforts. I only believe that my designs must
create humane environments that generate vitality and joy of being. This is the only thing I understand
and the only thing I practice.”
■ “A good project is a combined effort of all the related agencies including the artisians and the client.”
■ He preferred to focus on how his buildings pragmatically(realistic, down-to-earth,reasonable) solved the
practical problems that client requirements or the technicalities of building construction pose
■ His practice was committed to being relevant to the needs of ordinary Indians.
 HASMUKH’S WORKS
■ 1963: Newman Hall (Premal Jyoti),
Ahmedabad
■ 1964: State Bank of India, Ahmedabad
■ 1966: Diwan Ballubhai School, Ahmedabad
■ 1967: Medical and Social Welfare Centre,
Mokasan
■ 1967: St. Xavier's Primary School, Ahmedabad
■ 1968: St. Xavier's Technical Institute,
Vadodara
■ 1969: Church at Cambay (Khambhat)
■ 1969: Usha Theatre, Rajkot
■ 1971: Reserve Bank of India, Ahmedabad
■ 1974: Bhaikaka Bhavan, Ahmedabad
■ 1974: Dena Bank, Ahmedabad
■ 1975: Reading Centre, Gujarat University,
Ahmedabad
■ 1976: Central Laboratory, Gujarat University,
Ahmedabad
■ 1976: HK House, Ahmedabad
■ 1977: Carmel Convent Hostel,
Gandhinagar
■ 1977: Sardar Patel Institute Hostel,
Ahmedabad
■ 1978: Chinubhai Centre and Patang Hotel
, Ahmedabad
■ 1979: St. Xavier's High School,
Gandhinagar
■ 1979: Shyamal Row Houses, Ahmedabad
■ 1981: Centre Point Apartments,
Ahmedabad
■ 1984: Gujarat Tourism Bhavan,
Gandhinagar (Proposed)
■ 1984: Maitry Row Houses, Surat
■ 1985: Paritosh Building , Ahmedabad
■ 1986-87: Refurbishment of Eden Gardens
Stadium, Kolkata
■ 1993: International Stadium, Cochin
(Proposed)
 NEWMAN HALL, AHMEDABAD

■ Location : Ahmedabad
■ Year of completion : 1965-1968
■ Built-up area : 3,795sqm
■ Client : society of Jesus
■ The straight forward and simple forms of this
hostel reflects the austere and disciplined life of
the Jesuit s eminarians.
■ The requirement was for a series of individual
rooms, a dining hall, a chapel and a small office
block.
■ The chapel, a simple circular brick structure,
is placed on the central axis of the encircled
courtyard
■ Generous corridor areas serve the dual
purpose of providing access and ritual
ambulatory spaces.
■ Two and three storied structures flanking the
courtyard houses the seminar rooms.
■ What distinguishes the building is the simple
and restrained use of exposed brick and
concrete work and the ingenuity with which
the problems of climate have been resolved.
■ A series of brick piers flanking external
windows and internal corridors, with
supporting concrete slabs at lintel level
dominate the external structures.
■ These provide the necessary protection from
the sun and rain, while their clear separation
from the main facade and vertical extension
above roof level add drama to the elevation.
 GROUND FLOOR
1. Entrance
2. Parlour
3. Linen store
4. Room
5. Corridor

FIRST FLOOR
1. Common
6. Office
room
7. Kitchen
2. Single room
8. Pantry
3. Double room
9. Dining
4. Toilets
10.Store
5. Corridor
11.Toilets
6. Office
12.conference
7. Chapel
CHAPEL INTERIOR
 ISMET-BIMAL RESIDENCE
■ Location : Ahmedabad
■ Year of completion : 1998-2003
■ Architect : Hasmukh c patel
■ Built-up Area: 604 Sq.m.
■ The concept of the Ismet-Bimal residence is very simple; it’s a
long linear house with a deep verandah running the length of the
house and facing the garden.
■ The house is divided into three distinct parts; one consisting of
the living-dining, and the other two consisting of the bedrooms.
■ The bathrooms, each with its own skylight, serve as the dividing
elements.
■ A long narrow corridor leads you to the core of the house, the
living and dining area and a longer corridor leads you to the
bedrooms.
■ The dining has the kitchen to one side and opens into the rear
garden on the other.
■ The long corridor leading to the bedrooms also doubles up as the
library, with one wall being lined with books.
■ There is no hierarchy of spaces, no theatrics; every space opens
up to the low verandah and the garden beyond and still
maintains its own privacy and intimacy.
■ The garden forms an integral and indivisible part of each space and
is beautifully framed by the low verandah.
■ There are no windows in this house; only large glass doors and the
frequent use of louvered panels that ventilate the space and cast
interesting shadows with changing light conditions of the day.
■ The roof over each space is lifted slightly so as to ventilate it and let
in natural light.
■ The house is large but not lavish; it is highly functional, yet relaxed.
■ The scale of the verandah and the corridor, the unfussy and almost
minimalist interiors, and the diffused light filtering in, all lend to
achieve a restful and relaxing atmosphere.
■ The guesthouse lies a short distance away and sits perpendicular to
the main house.
■ It carries the idea of simplicity even further, as just one rectangular
space that can be partitioned into two if needed.
■ The guesthouse also has its own unobstructed view of the garden,
with the trees and planters providing adequate privacy and
separation.
■
ISMET-BIMAL
RESIDENCE

PLAN
THANK YOU