Late Modernism

Ar Hena Tiwari
Jan-July 2016, GCAD
 Late Modernism, also known High-tech
as
architecture or Structural Expressionism, is an
architectural style that emerged in the 1970s,
incorporating elements of high-tech industry and
technology into building design.
 High-tech architecture appeared as an extension
of previous ideas which were helped by even more
technological advances.
LECTURE V INTRODUCTION

Ar. Hena
Tiwari,
  It served as a bridge between modernism and
post-modernism.
In the 1980s, high-tech architecture became more
difficult 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.

LECTURE V
There were some gray areas as to where
one category ends and the other begins.

Ar. Hena
Tiwari,
 Like Brutalism, Late Modernism buildings revealed

their structure on the outside as well as the inside,

but with visual emphasis placed on the internal

steel and concrete skeleton structure as opposed

to exterior concrete walls.

LECTURE V

Ar. Hena
Tiwari,
 For eg. in buildings such as the Pompidou
Centre, this idea of revealed structure is taken to
the extreme, with apparently structural
components serving little or no structural role.
In this case, the use of "structural" steel is a
stylistic or aesthetic matter.

LECTURE V

Ar. Hena
Tiwari,
 The style's premier practitioners included:
Colombian architect Bruce Graham and Bangladeshi
architect Fazlur Rahman Khan for the John Hancock
Centre, Willis Tower and Onterie Center.
British architects Sir Norman Foster, Sir
Richard
Rogers
Italian architect Renzo Piano.
Spanish architect Santiago Calatrava, known for his
organic, skeleton-like
LECTURE V designs.
ARCHITECTS

Ar. Hena
Tiwari,
 It evolved from inadequacy of Modernism.
Desperately to come out of the constraints
of Modernism.
The public was once again acknowledged as
a
participant of architecture, whose voice cannot be
ignored.
Was determined not to be boring like modernism
and made a conscious effort to be interesting

LECTURE V always.
EVOLUTION

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Tiwari,
  Horizontally oriented

 Ribbon windows

 Dramatic sculptural conception of building’s volumes

 No ornamentation

 Decorative use of functional features .

 Flat roofs.
 RCC was out of favor.
 Steel and glass were disassociated with
their
LECTURE V internatioCnaHl
ACTERSTIC
S
stAyel R.
Ar. Hena
Tiwari,
  It was a pragmatic and technocratic architecture.

 It drew its inspirations from the

highest achievements of Modernism.

 Represented by: Sculptural Form.

 Extreme Articulation.

 Was functionalist.

 Modernist features were glass blocks, and

belt
courses.
LECTURE V

Ar. Hena
Tiwari,
  It was an exaggerated distorted version
of

Modernism.

 Excessive repetition via offsetting of

building

planes.

 Use of metal and glass curtain walls firmly links

LECTURE V  Built
it. forms isolated from the modernist box
to
take newer forms.

Ar. Hena
Tiwari,
EXAMPLES
 Philip Johnson and

John Burgee

Modernist box
ceased

to be a box.

It is cut, opened

up,

LECTURE V splayed
National
andcommercial
repeated. centre, Jeddah (1979-
84)

Ar. Hena
Tiwari,
 Change in geometry
provides

interest.
Machine like finish.

Absence of devices

scaling creates

hallucination.
LECTURE V Lipstick Building, Manhattan, New
York

Ar. Hena
Tiwari,
 James Sterling

Imagery was slick.

Surfaces looked slippery

and wet casting an

hypnotic effect.

LECTURE University of Leicester

V

Engineering Building,
1964
Ar. Hena
Tiwari,
  Nature is architecture’s best teacher.

 “The Innermost Being of Architecture”.

 Additive Architecture.

 Modest to monumental. Jorn Utzon

 Nordic Sensibility.

 Influenced by the architecture of the

ancient Mayan civilisation, as well as the

LECTURE V China
Islamic
andworld,
Japan.

Ar. Hena
Tiwari,
  An influential American architect.

 Born in Cleveland, Ohio.

 Attended the Hackley School, in Tarrytown, New

York, and then studied at Harvard University as an
undergraduate, where he focused on history and
philosophy.

 Promotion of the International style and, later, for

his role in defining postmodernist architecture.
LECTURE V PHILIP JOHNSON

Ar. Hena
Tiwari,
  It was designed by Philip Johnson as his
own
residence.
 An important and influential project for Johnson
and for modern architecture.
 Building is an essay in minimal structure,
geometry, proportion, and the effects of
transparency and reflection.
 House is an example of early use of industrial
materials such as glass and steel in home design.
LECTURE V Glass house

Ar. Hena
Tiwari,
  Building is 56feet (17 m) long,
32 feet (9.8 m)

wide and 10½ feet (3.2 m) high.

 The kitchen, dining and sleeping areas were all in

one glass-enclosed room, which Johnson initially

lived in, together with the brick guest house

 Exterior sides of the Glass House

are charcoal- painted steel and glass

LECTURE V

Ar. Hena
Tiwari,
  Areas of gravel or grass, trees
grouped in what

Johnson called outdoor "vestibules“

 Rectangularity of the Glass

House itself is

complemented with a circular brick fireplace.

 The Brick House, also

rectangular, facesthe

Glass House, but a nearby concrete

LECTURE V
Ar. Hena
Tiwari,
LECTURE V CENTRE POMPIDOU (POMPIDOU CENTER)
PARIS,FRANCE.

Ar. Hena
Tiwari,
 Flexible envelope

 Simple Geometric Form

Open Piazza

 Steel Structure

Exterior Mechanical

Building Circulation

LECTURE V Themes of the design

Ar. Hena
Tiwari,
 Land area 2 hectares (5 acres)
Floor area 103,305 m2
Superstructure 7 levels
42 m (Rue Beaubourg side), 45.5 m
Height
(Piazza side)
Length 166 m
Width 60 m
Infrastructure 3 levels
Depth: 18 m; Length: 180 m; Width:
Dimensions
110 m

LECTURE V BUILDING SPECIFICATIONS

Ar. Hena
Tiwari,
 Earthworks 300,000 m3

Reinforced concrete 50,000 m3

Metal framework 15,000 tonnes of steel

Façades, glass
11,000 m2
surfaces

OpaqueMsAurTfaEceR S70
, U 0 S 0 mE 2 D
LECTURE V
sIAL

Ar. Hena
Tiwari,
 It is a complex building in Paris.
It was designed in the style of high-tech
architecture by the architectural team of Richard
Rogers and Renzo Piano, along with Gianfranco
Franchini.
It houses the Public Information Library, a vast
public library, the Musée National d'Art Moderne,
which is the largest museum for modern art in
and IRCAM, a centre for music and
LECTURE V Europe,
acoustic research.

Ar. Hena
Tiwari,
 The project was awarded to the team
in

an architectural design competition and it was the

first time in France that international

architects

were allowed to participate.

World-renowned architects Oscar Niemeyer, Jean

LECTURE V would select one design out of the 681 entries.
Prouvé and Philip Johnson made up the jury which

Ar. Hena
Tiwari,
 Initially, all of the functional structural elements of

the building were colour-coded: green pipes are

plumbing, blue ducts are for climate

control, electrical wires are encased in yellow, and

circulation elements and devices for safety like fire

extinguishers are red.

LECTURE V The Centre was completed in 1977.

Ar. Hena
Tiwari,
LECTURE V

Ar. Hena
Tiwari,