HIGH-TECH ARCHITECTURE

(CONTEMPORARY ARCHITECTURE SEMINAR )

GROUP MEMBERS:
1) RASHMI POTDAR
2) ISHWARI TAMBOLI
UNDER THE GUIDANCE OF : 3) SONALI MANE
H.O.D. : KULDEEP KAUR BHATIA 4) ADITI DAHALE
PROF. : GAURI CHATUPHALE 5) RUCHIKA DESALE
CONTENTS:
1) TIMELINE
2) BACKGROUND
3) INTRODUCTION
4) AIM
5) PHILOSOPHY
6) CHARACTERSTICS/ FEATURES
7) DESIGN ELEMENTS
8) ARCHITECTS
9) WORKS
10) CONCLUSION
INDUSTRIAL
TIME-LINE
REVOLUTION 19TH
POST-MODERN ARCHITECTURE

PRE-
MODERN HISTORISISM NEO-
MODERNISM POP ART
ERA

MODERNISM DECONSTRUCTIVISM
HIGH-TECH CRITICAL
REGIONALISM
 BACKGROUND

• HIGH-TECH ARCHITECTURE WAS ORIGINALLY DEVELOPED IN BRITAIN.

• IT IS MUCH LIKE MODERNISM, SHARES A BELIEF IN A “ SPIRIT OF THE AGE “ THAT

SHOULD BE INCORPORATED AND APPLIED THROUGHOUT EACH BUILDING.

• THE INFLUENCE OF LE’CORBUSIER , WALTER GROPIUS AND MIES VAN DE ROHE IS

EXTENSIVE THROUGHOUT MANY OF THE PRINCIPLES AND DESIGNS OF HIGH – TECH
ARCHITECTURE.

• LOUIS KAHN’S CONCEPT OF ‘SERVED’ AND ‘ SERVANT’ SPACES, PARTICULARLY WHEN

IMPLIMENTED IN THE FORM OF SERVICE TOWERS, LATER BECAME A WIDESPREAD
FEATURE OF HIGH-TECH ARCHITECTURE.
THE LLOYD'S BUILDING IN
LONDON, BY RICHARD
ROGERS.
 INTRODUCTION
• STARTED IN 1970’S
• ALSO KNOWN AS
-LATE MODERNISM
-STRUCTURAL EXPRESSIONISM
• IT IS AN ARCHITECTURAL STYLE WHICH INCLUDES ELEMENTS OF HIGH-TECH INDUSTRY AND
TECHNOLOGY INTO BUILDING DESIGN.

HIGH-TECH

MODERNISM POST-MODERNISM

• HIGH-TECH ARCHITECTURE IS THE BRIDGE BETWEEN MODERNISM

AND POST-MODERNISM.
 INTRODUCTION
• HIGH-TECH BUILDINGS ARE OFTEN CALLED MACHINE LIKE. MATERIALS USED FOR CONSTRUCTION:

STEEL GLASS
INDUSTRIAL MACHINE
THE LLOYD'S BUILDING IN
LONDON, BY RICHARD
ROGERS.

ALUMINIUM

TECHNOLOGY USED:
• PREFERABLY PRE-FABRICATED IN
STEEL BEAMS FACTORY AND ASSEMBLED LATER.
GIRDERS • INTERIOR SPACE ARE OPEN AND
ADAPTABLE FOR MANY USES.
BRACES
 AIM

• HIGH- TECH ARCHITECTURE AIMED TO GIVE EVERYTHING AN INDUSTRIAL APPEARANCE.

• CONVERSION OF FORMER INDUSTRIAL SPACES INTO RESIDENTIAL SPACES.

• TECHNICAL ELEMENTS SUCH AS SOLAR CELLS ARE A KIND OF MODERN ORNAMENT.

TECHNICAL EQUIPMENT BUILDING STRUCTURE

 PHILOSOPHY

“THE BEST ARCHITECTURE COMES FROM A SYNTHESIS OF ALL

THE ELEMENTS THAT SEPARATELY COMPRISE A BUILDING.”
-AR.NORMAN FOSTER
 CHARACTERISTICS/FEATURES
EXPRESSED COLOURED PIPEWORK AND
FLEXIBLE INTERIOR CONSTRUCTION SERVICES

COLOURS USED TO
OPEN PLAN WITH THE STRUCTURES SUCH AS BEAMS
DELIGHNEAT
ABILITY TO PARTITION AS AND CABLES VISIBLY DISPAYED
STRUCTURAL PART
PER NECESSORY
AND AREAS

LIGHTWEIGHT CONSTRUCTION:
USE OF STEEL AND GLASS SOME
WITH REFLECTIVE SURFACES
 DESIGN ELEMENTS
LIGHT :
•THROUGH HARNESSING AND COLLECTION OF LIGHT, INDIVIDUALS
FEEL CLOSE TO NATURE.
•CONSIDERATION OF LIGHT AND
ITS EFFECTS ON THE STRUCTURE.
•HIS COMMERCIAL BUILDINGS
HAVE A CENTRAL
ATRIUM THAT DRAWS LIGHT TO
THE CORE OF THE BUILDING.
•BELIEVES LIGHT HAS A HEALING
FUNCTION,
-ONE THAT KEEPS INDIVIDUALS
SANE IN A BUSY MODERN
WORLD.
•IN REICHSTAG, FOSTER USES LIGHT TO REMIND
GERMAN CITIZENS THAT BUILDING SERVES AS
THEIR DEMOCRATIC CENTER.
•THE WILLIS-FABER & DUMAS BUILDING’S WALLS
 LAYERS:

• FOSTER LIKES TO PLAY WITH DIFFERENT LAYERS SENDING MESSAGE.

•THE REICHSTAG HAS PUBLIC VIEWING AREAS

ABOVE POLITICAL BUILDINGS TO SEND THE MESSAGE THAT-
POLITICS SHOULD WORK TO SUPPORT THE CITIZEN.

•REICHSTAG ALSO LAYERS THE IDEA OF OLD AND NEW

 HIGH-TECH:

• USING HIGH-TECH EQUIPMENT AND

• PUSHING THE EDGE OF STRUCTURAL ENGINEERING, HE IS
ABLE TO PUSH THE EDGE OF ARCHITECTURAL DESIGNING.
HIGH-TECH BUILDINGS ARE MORE FLEXIBLE, AND THUS
MORE DISTINCTIVE.
• A HIGH-TECH BUILDING, IS ALSO ENERGY EFFICIENT
 ARCHITECTS

1. NORMAN FOSTER
2. I.M.PIE
3. RICHARD ROGERS
4. RENZO PIANO
5. MICHAEL HOPKINS
 NORMAN FOSTER
• NORMAN FOSTER WAS BORN IN MANCHESTER, ENGLAND IN 1935.
• HE WENT TO PRIVATE SCHOOL AND GRAMMAR
SCHOOL BUT LEFT EARLY TO EARN A LIVING.
• AFTER LEAVING SCHOOL HE WORKED FOR TWO YEARS
IN THE CITY TREASURER’S OFFICE, STUDIED
COMMERCIAL LAW.
• MASTER’S DEGREE IN ARCHITECTURE FROM YALE
UNIVERSITY.
• FOSTER ASSOCIATES (NOW KNOWN AS FOSTER AND
PARTNERS) WAS FOUNDED IN 1967 AND NOW HAS OFFICES
IN LONDON, BERLIN, AND SINGAPORE, WITH OVER 500
EMPLOYEES WORLDWIDE.
• FOSTER AND PARTNERS HAS RECEIVED OVER 190 AWARDS
AND HAS WON OVER 50 NATIONAL AND INTERNATIONAL
COMPETITIONS.
• IN 1999 HE WAS AWARDED THE 21ST PRITZKER ARCHITECTURE
PRIZE LAUREATE.
 PHILOSOPHY
•THE STRUCTURE THAT HOLDS IT UP;

•THE SERVICES THAT ALLOW IT TO WORK;

• THE ECOLOGY OF THE BUILDING –

-NATURALLY VENTILATED, WHETHER
YOU CAN OPEN THE WINDOWS, THE
QUALITY OF LIGHT;

•THE MATERIALS USED, THEIR MASS OR THEIR

LIGHTNESS;
•THE CHARACTER OF THE SPACES;

•THE RELATIONSHIP OF THE BUILDINGS TO

THE SKYLINE OR STREETSCAPE;

•THE WAY IN WHICH THE BUILDING SIGNALS

ITS PRESENCE IN THE CITY OR THE
COUNTRYSIDE
WORKS
 LONDON CITY HALL
•THE DISTINCTIVE OUTER SHELL AND UNIQUE FRAMEWORK.

•10 STORIED BUILDING.

•OVAL FORM ENABLES THE BUILDING TO PERFORM CONSUMING

ONLY THE MINIMUM AMOUNT OF ENERGY NECESSARY.
•USE OF STEEL FORMWORK FOR THE SLAB RESULTS IN A REDUCTION OF
COSTS IN CONSTRUCTION WASTE.

•THE INCLINED STEEL COLUMN SYSTEM

-COST EFFECTIVENESS,
-SIMPLICITY,
-EASILY CONSTRUCTED

•CIRCULAR STEEL COLUMNS 508 MM IN DIAMETER ARE LINED UP ON

TOP OF EACH OTHER CONNECTION FROM FLOOR TO FLOOR AND ARE
ANGLED TO LINE UP WITH THE FLOOR PLATE
•THE ROOF OF CITY HALL IS PROVIDED WITH A COMPLETED
INSTALLATION OF PHOTOVOLTAIC SOLAR PANELS.

•RUNNING ALONG THE INTERIOR ATRIUM IS A STEPPED RAMP WHICH

CONTINUES SPIRALING UP ABOVE THE DEBATING CHAMBER.
 AR.RICHARD ROGERS
BORN ON: JULY 23RD 1933

• RICHARD GEORGE ROGERS, BORN ON JULY 23RD 1933 IN

FLORENCE, IS AN ITALIAN BORN BRITISH ARCHITECT
KNOWN FOR HIS MODERNIST AND FUNCTIONALIST
DESIGNS.

• ROGERSATTENDED THE ARCHITECTURAL

ASSOCIATION SCHOOL OF
ARCHITECTURE IN LONDON, BEFORE
GRADUATING WITH A MASTER’S DEGREE
FROM THE YALE SCHOOL OF
ARCHITECTURE IN 1962.
WORKS
 DESIGN PHILOSOPHY: FAMOUS WORKS:
• HE HAD A VERY ENVIRONMENTAL CONCEPTION OF • LLOYDS BUILDING AND MILLENNIUM DOME, LONDON
DESIGNS.
• EUROPEAN COURTS OF HUMAN RIGHTS BUILDING,
• THE NOTION OF SOCIAL INTEGRATION IS ONE OF THE STRASBOURG
OTHER MOST IMPORTANT POINTS OF THE RICHARD
ROGERS’ ARCHITECTURAL CONCEPT.

• ACCORDING TO HIM SOCIAL PROBLEMS CAN FIND

SOLUTIONS IN THE CONSTRUCTION OF “COMPACT
CITIES WITH MULTIPLE CENTERS”.

• RICHARD ROGERS’ ARCHITECTURAL PHILOSOPHY’S TOPICS

ARE LEGIBLE, TRANSPARENT, LIGHTWEIGHT, SYSTEMS,
URBAN, PUBLIC AND GREEN.
 LLOYD’S BUILDING,LONDON:

• THE LLOYD’S BUILDING(REFERRED TO AS THE INSIDE–OUT

BUILDING) IS THE HOME OF THE INSURANCE INSTITUTION
LLOYD’S OF LONDON, AND IS LOCATED AT 1, LIME STREET,
IN THE CITY OF LONDON.

• THE BUILDING WAS DESIGNED

BY ARCHITECT RICHARD ROGERS AND BUILT BETWEEN 1978
AND 1986.

• IT IS A LEADING EXAMPLE OF
RADICAL BOWELLISM ARCHITECTURE IN WHICH THE
SERVICES FOR THE BUILDING, SUCH AS DUCTS AND LIFTS,
ARE LOCATED ON THE EXTERIOR TO MAXIMIZE SPACE IN THE
INTERIOR.
 DESIGN:

• THE BUILDING WAS INNOVATIVE IN HAVING ITS SERVICES SUCH AS STAIRCASES,

LIFTS, ELECTRICAL POWER CONDUITS AND WATER PIPES ON THE OUTSIDE,
LEAVING AN UNCLUTTERED SPACE INSIDE.

• THE UNDERWRITING ROOM (OFTEN SIMPLY KNOWN AS "THE ROOM") IS OVERLOOKED

BY GALLERIES, FORMING A 60 METERS (197 FT) HIGH ATRIUM LIT NATURALLY
THROUGH A HUGE BARREL- VAULTED GLASS ROOF. 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.

• THE 11TH FLOOR HOUSES THE COMMITTEE ROOM, AN 18TH CENTURY DINING ROOM
DESIGNED FOR THE 2ND EARL OF SHELBURNE BY ROBERT ADAM IN 1763; IT WAS
TRANSFERRED PIECE BY PIECE FROM THE PREVIOUS (1958) LLOYD'S BUILDING
ACROSS THE ROAD.

• THE LLOYD'S BUILDING IS 88 METRES (289 FT) TO THE ROOF, WITH 14 FLOORS. ON TOP
OF EACH SERVICE CORE STAND THE CLEANING CRANES, INCREASING THE OVERALL
HEIGHT TO 95.10 METRES (312 FT). MODULAR IN PLAN, EACH FLOOR CAN BE ALTERED
BY ADDITION OR REMOVAL OF PARTITIONS AND WALLS.
EUROPEAN COURT OF A HUMAN RIGHTS

DESIGNED IN 1989 BY RICHARD ROGERS

 EUROPEAN COURT OF A HUMAN RIGHTS

 THE BUILDING WAS DESIGNED IN 1989 BY THE

RICHARD ROGERS PARTNERSHIP LTD (LONDON)
AND CLAUDE BUCHER (STRASBOURG).

 THEY INTENDED TO CREATE A "SYMBOLIC LANDMARK

BUT NOT A MONUMENT".

 THE BUILDING RELIES ON NATURAL LIGHT AND

VENTILATION, EXCEPT THE LIGHT ENTRANCE HALL
WHICH IS AIR CONDITIONED IN AN ENERGY SAVING
MANNER.

 THE TWO MAIN ORGANS OF THE COURT, THE COURT

AND COMMISSION, OCCUPY TWO LARGE CIRCULAR
CHAMBERS EACH SIDE AND OFFICES ARE LOCATED IN A
"TAIL" STRETCHING BEHIND THE BUILDING.
 AR. RENZO PIANO

 RENZO PIANO WAS BORN ON SEPTEMBER 14, 1937 IN

GENOA (ITALY), IN THE BOSOM OF A WEALTHY FAMILY OF
CONSTRUCTION COMPANIES.

 ALSO PLAYED A STRONG TEACHING AND TAUGHT AT HIS

ALMA MATER, THE MILAN POLYTECHNIC AND AT THE
ARCHITECTURAL ASSOCIATION SCHOOL IN LONDON.

 AFTER A FEW EARLY PROJECTS THAT FAILED TO THE

DRAWING BOARD IN 1971 WON A CONTEST THAT WOULD
CHANGE THEIR LIVES:

 -THE CONSTRUCTION OF THE CENTRE GEORGES

POMPIDOU IN PARIS.

 -THE BUILDING, AS WAS THE CASE IN THE PAST WITH

ANOTHER FAMOUS LANDMARK, THE EIFFEL TOWER WAS
CONTROVERSIAL FROM THE START.
WORKS
 POMPIDOU CENTRE:

• IT WAS THE FIRST

MAJOR EXAMPLE OF
‘INSIDE OUT’ IN
ARCHITECTURAL
HISTORY WITH ITS
STRUCTURAL SYSTEM

• RENZO PERFORMS IN ITS EARLY DESIGNS THAT BREAK

TRADITIONAL PARADIGMS IN ARCHITECTURE SUCH AS
AUTHORSHIP, THE DURABILITY OR THE SAME SPATIAL
RIGIDITY, PROJECTS WHAT HE CALLED "ADAPTABLE SPACES"
 POMPIDOU CENTER
PLUMBING PIPES

FIRE EXTINGUISHERS

CLIMATE CONTROL DUCTS

ENCASED ELECTRICAL WIRES
 CHARACTERISED BY:

ITS ARCHITECTURE IS DEFINED AS

SOLID CONSTRUCTION MADE BY
EXCELLENT MATERIALS .
TAKEN ADVANTAGE OF THE TOPOGRAPHY
TO THE RELATIONSHIP BETWEEN THE
INTERNAL SPACES AND ALSO TO THE
OUTSIDE.

RENZO PIANO DESIGNED A BUILDING

CAPABLE OF INTEGRATING WITH
NATURE, IN TRIBUTE TO ONE OF THE
MOST PROLIFIC AND PROFOUND
ARTISTS OF MODERN TIMES.
 HIS PHRASES:

• "ARCHITECTURE IS A SERVICE."

• "ARCHITECTURE IS AN ARTISTIC CRAFT, BUT AT THE SAME

TIME IT IS ALSO A SCIENTIFIC PROFESSION, IT IS PRECISELY
ITS DISTINCTIVENESS" - RENZO PIANO

• "WHEN STYLE GETS TO BECOME A BRAND, A PERSONAL

SEAL, THIS BECOMES A CAGE"

• "THE ARCHITECT IS FIRST AND FOREMOST A BUILDER, BUT

ALSO SHOULD BE A POET, AND ABOVE ALL A HUMANIST''
 RENZOPIANO:
ECOLOGICAL INNOVATOR

FOR THE GREAT ITALIAN ARCHITECT RENZO PIANO, THE

PROTECTION OF THE ENVIRONMENT, FAR FROM BEING A
LIMITATION, IT HAS BECOME A "SOURCE OF INSPIRATION" FOR
THE DEVELOPMENT OF MAJOR PROJECTS BEING UNDERTAKEN
IN MANY COUNTRIES.
CENTRO PAUL KLEE
LONGITUDINAL SECTION

TRANSVERSE SECTION
 CONCEPT:

• PIANO THE GUIDING IDEA WAS TO CREATE SOMETHING

MORE THAN A MUSEUM.
• RENZO PIANO WAS THE LIGHTNESS OF THE ARTIST'S
SENSE OF BELONGING AND LIGHT.
• IT WAS THEREFORE DECIDED TO CREATE A PLACE, RAISE
THE LAND, MAKING LAND AVAILABLE FOR A WORK OF ART
ITSELF.
• AS IF IT WERE MORE OF A SURVEY DONE BY A
KNOWLEDGEABLE FARMER, RATHER THAN THE RESULT OF
AN ARCHITECTURAL METHODOLOGY.
• SO HE DESIGNED THREE HILLS.
• THREE WAVES THAT RISE AND FROM THE GROUND. WITH
DIFFERENT DIMENSIONS, THE THREE WAVES TRAVERSE
THE GROUND LIKE A SCULPTURE OR THE RESULT OF THE
SAME NATURE.
 SPACE :

EACH HAS A DIFFERENT FUNCTION UNDULATIONS THEREIN.

THE FIRST AND LARGER, A 400-SEAT AUDITORIUM, AND ART
WORKSHOPS FOR CHILDREN.

IN THE SECOND WAVE, THE MIDDLE, SMALLER THAN THE

FIRST, IS THE PERMANENT COLLECTION OF PAUL KLEE,
AND TEMPORARY EXHIBITION SPACES DEDICATED TO
IN THE THIRD ONE, THE LEAST OF ALL, LIES THE
RESEARCH AND MANAGEMENT.
 FORM :

 THE DESIGN OF THE ZENTRUM PAUL KLEE IS

CHARACTERIZED BY THE STRUCTURE OF
CORRUGATED STEEL DECK. THESE BEAMS HAVE THE
COMPLEX CURVES NEITHER IS EQUAL TO THE OTHER,
SINCE THE WAVE FORM EXTENDS FROM THE FRONT
TO THE BACK WHERE IT IS LOST TOGETHER WITH THE
GROUND, AND EACH "WAVE" HAS DIFFERENT
HEIGHT.

 EACH OF THE CURVED STEEL BEAMS WITH

DIFFERENT WEIGHTS, HAS BEEN CONSTRUCTED
INDIVIDUALLY.

 AFTER REVIEWING ALTERNATIVE MATERIALS SUCH AS

ALUMINUM, COPPER AND TITANIUM, IT WAS
DECIDED TO USE A HARDENED COVER. THE
ECOLOGICAL CRITERIA, ECONOMIC AND TECHNICAL
WERE DECISIVE FOR THIS CHOICE.
 C E N T R O C U LT U R A L JEA N- M A R I E TJ I BAO U :

BUILT IN: 1991-1998

LOCATION: NOUMEA, NEW CALEDONIA
 INTRODUCTION:

• ITS ARCHITECTURE EVOKES THE VERNACULAR KANAK HUTS

OF NEW CALEDONIA AND STILL HAS A VERY MODERN FEEL.
IT IS A COMMUNITY CENTER, AND IN TURN EDUCATIONAL
MUSEUM

LONGITUDINAL SECTION
 CHARACTERSTICS:

•THE PROJECT DESIGN IS INTENDED TO TAKE ADVANTAGE

OF NATURAL WINDS COMING FROM THE PACIFIC OCEAN.
THE EXTERIOR IS MADE OF WOOD, WIND FILTER A SECOND
LAYER OF GLASS SHUTTERS THAT OPEN AND CLOSE
NATURAL VENTILATION.

•THE COMPLEX IS BUILT ENTIRELY OF IROKO WOOD VERY

RESISTANT TO MOISTURE AND INSECTS.
•THIS WOOD WAS IMPORTED FROM GHANA.

•IROKO STRUCTURE PROVIDES A COMB-SHAPED.

•EVOCATIVE OF THE CABINS AND CRAFTSMANSHIP KANAK,
THE SLENDER RIBS OF THE STRUCTURE AND THE SLATS THAT
ARE JOINED SEAMLESSLY INTEGRATED BOTH IN THE LUSH
LANDSCAPE AND THE CULTURE OF ITS INHABITANTS.
ACADEMY OF SCIENCES, CALIFORNIA
LONGITUDINAL SECTION
 CHARACTERISTICS:

• THE ACADEMY OF SCIENCES IN CALIFORNIA IS THE MOST

CURRENT MUSEUM BY RENZO PIANO, WHICH DELIVERS AN
ENLIGHTENED AND SUSTAINABLE SOLUTION TO A BUILDING
DESIGNED IN THE YEAR 1934 WITH AN AVANT-GARDE
DESIGN.

• THE MUSEUM CONSISTS OF VERY UNIQUE AREAS SUCH AS

AN AQUARIUM, A PLANETARIUM AND A RESERVE GREEN
ON THE INSIDE, IN ADDITION TO THE VARIOUS EXHIBITION
GALLERIES, WHICH, UNLIKE TRADITIONAL GALLERIES, WERE
DESIGNED FOR RECEIVING LARGE AMOUNT OF NATURAL
LIGHT.
•HEAT BY RADIANT SLAB REDUCES THE NEED FOR ENERGY BY
5-10%.

•THE ARCHITECT IMPLEMENTED HEAT RECOVERY SYSTEMS.

•THE GREEN ROOF CREATES THERMAL INSULATION,

WHICH MAKES IT UNNECESSARY TO RESORT TO AIR
CONDITIONING SYSTEMS.

•HIGH-EFFICIENCY GLASS WAS USED THROUGHOUT THE

BUILDING.

•TO KEEP THE MUSEUM PIECES IN THE MOISTURE CONTENT

REQUIRED, IT USES A SYSTEM OF MOISTURE BY REVERSE
OSMOSIS.

•RECYCLED BUILDING MATERIAL IS USED.

•90% OF THE SPACES HAVE NATURAL LIGHT AND OUTDOOR

VIEWS.
•ABSORPTION AND REUSING RAINWATER MAKE THE BUILDING
EXTREMELY EFFICIENT.

•TO OPERATE THE SANITARY EQUIPMENT, RECLAIMED

WATER FROM THE CITY OF SAN FRANCISCO IS USED.

•THE SALTWATER FOR THE AQUARIUM WILL BE CARRIED

FROM THE PACIFIC OCEAN
 CONCLUSION:

ENVIRONMENTALLY AWARE IN DESIGNS AND CREATES ECOLOGICALLY

SENSITIVE BUILDINGS.

•HE USES LINES TO FORM ORGANIC SHAPES.

SKELETON OF THE OUTSIDE OF THE BUILDING IS VISIBLE TO
THE EYERATHER THAN HIDING IT .

• MANY SPACES INSIDE ARE ENCLOSED IN GLASS AND ALMOST

CAUSE YOU TO FEEL AS THOUGH YOU ARE OUTSIDE.

•PUTS A LOT OF THOUGHT INTO-HOW HIS DESIGNS WILL MAKE

US FEEL ONCE YOU’RE INTERACTING WITH THEM THROUGH THE
USE OF
DIFFERENT MATERIALS AND THESPACE OF AN AREA

•HE HAS DESIGNED STRUCTURES IN

TOKYO, HONG KONG, LONDON, BARCELONA.
 REFERENCES:

• WWW.ARCHITECTURE.COM
• EN.M.WIKIPEDIA.ORG
• WWW.SLIDESHARE.NET
• WWW.DESIGHNBUILDINGS.CO.UK
• WWW.DEZEEN.COM
THANK YOU…