ASSIGNMENT BY KAYODE, O.

ARCHITECTURE TECHNOLOGY DEPARTMENT

Name: KAYODE OLUWAROTIMI SOLA

Matric/Reg Number: 97034626AJ

COURSE TITLE: INTRODUCTION TO ARCHTIECTURE

COURSE CODE: ARC 105

ASSIGNMENT ON

SEVEN NOTABLE ARCHITECTS AND SEVEN NOTABLE

BUILDINGS

LECTURER IN CHARGE: DR (ARC) ADEGUN

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CHAPTER ONE

1.0.0 NOTABLE ARCHITECTS

1.1.1 Kunlé Adeyemi

Kunlé Adeyemi (born 7 April 1976) is a Nigerian architect, urbanist and creative researcher.
Adeyemi is founder and principal of NLÉ, an architecture, design and urbanism practice, based
in Amsterdam, in the Netherlands. Adeyemi studied at the University of Lagos in Nigeria
and Princeton University in New Jersey, the United States. Before starting his own office in the
Netherlands, he worked nearly a decade at Office for Metropolitan Architecture (OMA).

Kunlé Adeyemi

1.1.2 Early Life

Adekunle Adeyemi was born and raised in Kaduna, in the north of Nigeria, and studied and
started his early career in Lagos. His father was a modernist architect and started one of the first
indigenous architecture firms in North Nigeria in the 1970s. In his mid-teens, Adeyemi had the
opportunity to design his first house, for a friend of his father.

Adeyemi studied architecture at the University of Lagos in Nigeria, and finished his Bachelor
as Best Graduate. In 2005, Adeyemi received a Post-Professional degree atPrinceton University
School of Architecture in New Jersey. At that university, Adeyemi investigated together with Peter
Eisenman, the rapid urbanization and the role of market economies in developing cities of the Global
South, focusing on Lagos.

1.1.3 Early Career

In his early career, Adeyemi worked on projects in Lagos, Abuja and other parts of
Nigeria. After that, Adeyemi joined OMA (The Office for Metropolitan Architecture) in 2002, where
he was Senior Associate and worked for about nine years alongside its award-winning founder Rem
Koolhaas. There, Adeyemi led the following projects, in different stages:

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 Qatar Foundation Headquarters, the Central Library and the Strategic Studies Center, in the
Education City in Doha.
 The 4th Mainland Bridge and Master Plan in Lagos.
 The Prada Transformer project in 2009
 New Court Rothschild Bank project in London (2006). This bank is about to open soon.
 Master plan concept for Abuja – AIST, Nigeria in 2006 for the Nelson Mandela African Institute
of Science and Technology
 Shenzhen Stock Exchange in 2006, opened in November 2007
 The Seoul National University Museum project in 2005
 The S-project Masterplan for Seoul in 2004

 The Leeum Museum in Seoul in 2004.

1.1.3 Current works and projects:

Currently, Adeyemi runs his own architecture, design and urbanism practice called NLÉ,
located in Amsterdam. NLÉ means 'at home' in Yoruba. With his office NLÉ, Adeyemi is interested in
elements that make up a city. He focuses especially on the rapidly growing cities in developing
countries. Adeyemi seeks the logic in systems that arise in the rapid development of those cities. He
observes and questions the existing systems within these cities, and creates new solutions inspired by
his own 'reading' of those systems.Adeyemi is convinced that there is much to learn from the type of
condition that is found in rapidly developing, energetic cities, like one of Africa's most populated
cities Lagos in Nigeria. NLÉ offers a strategy advisory service and focuses on city development
research, conceptualisation, creative structuring, architectural-, product- and infrastructure design, arts
and urban cultural intervention. In much of his recent work, Adeyemi is particularly interested in
urbanization, climate change, and policy. Among others, Adeyemi conducted with NLÉ the following
activities:

 Building prototype housing for urban tropic environment.

 ‘Queensday Lagos’, to exchange the Dutch Queensday experience with inhabitants of Lagos by
video conferencing
 Lagos Photo project with the African Artists' Foundation.
 Makoko Floating School (collapsed June 2016).
 MFS II and MFS III: the 2nd and 3rd iterations of his Makoko Floating School Project

1.2.0 ÁLVARO SIZA

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Álvaro Siza, in full Álvaro Joaquim de Melo Siza Vieira, (born June 25, 1933, Matosinhos,
Portugal), Portuguese architect and designer whose structures, ranging from swimming pools to public
housing developments, were characterized by a quiet clarity of form and function, a sensitive
integration into their environment, and a purposeful engagement with both cultural and architectural
traditions. He was awarded the Pritzker Prize in 1992.

Álvaro Joaquim de Melo Siza Vieira

1.2.1 EARLY LIFE

Siza was born in Matosinhos, a small coastal town near Porto. He graduated in architecture in
1955, at the former School of Fine Arts of the University of Porto, the current FAUP – Faculdade de
Arquitectura da Universidade do Porto.

1.2.2 CAREER

Siza completed his first built work (four houses in Matosinhos) even before ending his studies in 1954,
the same year that he first opened his private practice in Porto. Along with Fernando Távora, he soon
became one of the references of the Porto School of Architecture where both were teachers. Both
architects worked together between 1955 and 1958. Another architect he has collaborated with is
Eduardo Souto de Moura,. Siza's work is often described as "poetic modernism"; he himself has
contributed to publications on Luis Barragán.

Among Siza's earliest works to gain public attention was a public pool complex (named Piscinas de
Marés) he created in the 1960s for Leça da Palmeira, a fishing town and summer resort north of Porto.
He was also a member of the team which reconstructed Chiado, the historic center of Lisbon destroyed
by a fire in 1988. Commissioned after winning an international competition in 2010, Siza and
Granada-based Juan Domingo Santos unveiled designs for a new entrance and visitors center at the

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Alhambra in 2014. By 2012, Siza warned that he might close his Portuguese office because of a lack
of contracts.[7] In 2019, he was commissioned with his first project in the United States, a 450-foot-
tall, 37-story apartment building at 611 West 56th Street in Manhattan

1.2.3 RECOGNITION

In 1987, the dean of Harvard Graduate School of Design, the Spanish architect Rafael Moneo,
organized the first show of Siza's work in the United States. 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 that was all but completely destroyed by fire in August 1988. Siza's Iberê
Camargo Foundation in Porto Alegre, his first project built in Brazilian territory, was honoured by the
Venice Architecture Biennale with the Golden Lion award in 2002. In 2007 the Brazilian Government
awarded him the Cultural Merit Order Medal. More recently he was awarded the RIBA's 2009 Royal
Gold Medal[14] and the International Union of Architects' 2011 Gold Medal. Siza was awarded by the
Venice Architecture Biennale (13th Edition) with the Golden Lion for lifetime achievement (2012).

Siza was conferred the title of Honoris Causa Doctor by the following universities: Polytechnic
University of Valencia; École Polytechnique Fédérale de Lausanne; University of Palermo; University
Menendez Pelayo, in Santander; Universidad Nacional de Ingeniería in Lima, Peru; University of
Coimbra; Lusíada University of Porto; Universidade Federal de Paraíba; the Università degli Studi di
Napoli Federico II, Polo delle Scienze e delle Tecnologie, in Naples; the University of Architecture
and Urbanism of Bucharest "Ion Mincu", Romania (2005); and the University of Pavia, Italy (2007).
He is a member of the American Academy of Arts and Sciences as well as Honorary Fellow of the
Royal Institute of British Architects, the American Institute of Architects, the Académie d'Architecture
de France and the European Academy of Sciences and Arts.

1.3.0 LOUIS HENRY SULLIVAN

Louis Henry Sullivan (September 3, 1856 – April 14, 1924)[1] was a North American architect
from Boston, and has been called the "father of skyscrapers" and "father of modernism". He is
considered by many as the creator of the modern skyscraper, was an influential architect and critic of
the Chicago School, was a mentor to Frank Lloyd Wright, and an inspiration to the Chicago group of
architects who have come to be known as the Prairie School. Along with Wright and Henry Hobson
Richardson, Sullivan is one of "the recognized trinity of American architecture". The phrase "Form
follows function" is attributed to him, although he credited the origin of the concept to an ancient

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architect whose origins were allegedly Italian. In 1944, Sullivan was the second architect to
posthumously receive the AIA Gold Medal

1.3.1 EARLY LIFE AND CAREER

Entering MIT at the age of sixteen, Sullivan studied architecture there briefly. After one year of
study, he moved to Philadelphia and took a job with architect Frank Furness. Sullivan moved to
Chicago in 1873 to take part in the building boom following the Great Chicago Fire of 1871. He
worked for William Le Baron Jenney, the architect often credited with erecting the first steel frame
building. After less than a year with Jenney, Sullivan moved to Paris and studied at the École des
Beaux-Arts for a year. He returned to Chicago and began work for the firm of Joseph S. Johnston &
John Edelman as a draftsman. Johnston & Edleman were commissioned for the design of the Moody
Tabernacle, and had the interior decorative fresco secco stencils (stencil technique applied on dry
plaster) designed by Sullivan.[7] In 1879 Dankmar Adler hired Sullivan. A year later, Sullivan became
a partner in that firm. This marked the beginning of Sullivan's most productive years.

Adler and Sullivan initially achieved fame as theater architects. While most of their theaters
were in Chicago, their fame won commissions as far west as Pueblo, Colorado, and Seattle,
Washington (unbuilt). The culminating project of this phase of the firm's history was the 1889
Auditorium Building (1886–90, opened in stages) in Chicago, an extraordinary mixed-use building
that included not only a 4,200-seat theater, but also a hotel and an office building with a 17-story
tower and commercial storefronts at the ground level of the building, fronting Congress and Wabash
Avenues. After 1889 the firm became known for their office buildings, particularly the 1891
Wainwright Building in St. Louis and the Schiller (later Garrick) Building and theater (1890) in
Chicago. Other buildings often noted include the Chicago Stock Exchange Building (1894), the

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Guaranty Building (also known as the Prudential Building) of 1895–96 in Buffalo, New York, and the
1899–1904 Carson Pirie Scott Department Store by Sullivan on State Street in Chicago.

1.3.2 LEGACY

Sullivan's built work expresses the appeal of his incredible designs: the vertical bands on the
Wainwright Building, the burst of welcoming Art Nouveau ironwork on the corner entrance of the
Carson Pirie Scott store, the (lost) terra cotta griffins and porthole windows on the Union Trust
building, and the white angels of the Bayard Building. Except for some designs by his longtime
draftsman George Grant Elmslie, and the occasional tribute to Sullivan such as Schmidt, Garden &
Martin's First National Bank in Pueblo, Colorado (built across the street from Adler and Sullivan's
Pueblo Opera House), his style is unique. Original drawings and other archival materials from
Sullivan are held by the Ryerson & Burnham Libraries in the Art Institute of Chicago and by the
drawings and archives department in the Avery Architectural and Fine Arts Library at Columbia
University. Fragments of Sullivan buildings also are held in many fine art and design museums around
the world.

1.4.0 TADAO ANDO

Tadao Ando (born 13 September 1941) is a Japanese self-taught architect whose approach to
architecture and landscape was categorized by architectural historian Francesco Dal Co as "critical
regionalism". He is the winner of the 1995 Pritzker Prize. His approach to architecture and landscape
was categorized by architectural historian Francesco Dal Co as "critical regionalism"

1.4.1 EARLY LIFE

He worked as a boxer before settling on the profession of architect, despite never having
formal training in the field. Struck by the Frank Lloyd Wright-designed Imperial Hotel on a trip to
Tokyo as a second-year high school student, he eventually decided to end his boxing career less than
two years after graduating from high school to pursue architecture.[4] He attended night classes to learn
drawing and took correspondence courses on interior design.[5] He visited buildings designed by
renowned architects 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

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Tadao Ando

1.4.2 Tadao Ando Style and Philosophy

 Ando's architectural style is said to create a "haiku" effect, emphasizing nothingness and
empty space to represent the beauty of simplicity.
 He favors designing complex spatial circulation while maintaining the appearance of
simplicity.
 -A self-taught architect, he keeps his Japanese culture and language in mind while he travels
around Europe for research.
 As an architect, he believes that architecture can change society, that "to change the dwelling is
to change the city and to reform society". "Reform society" could be a promotion of a place or
a change of the identity of that place.
 The simplicity of his architecture emphasizes the concept of sensation and physical
experiences, mainly influenced by the Japanese culture.
 The religious term Zen, focuses on the concept of simplicity and concentrates on inner feeling
rather than outward appearance.
 Zen influences vividly show in Ando’s work and became its distinguishing mark. In order to
practice the idea of simplicity, Ando's architecture is mostly constructed with concrete,
providing a sense of cleanliness and weightlessness at the same time. Due to the simplicity of
the exterior, construction, and organization of the space are relatively potential in order to
represent the aesthetic of sensation.

1.4.3 BUILDINGS AND WORKS

His "Row House in Sumiyoshi" (Azuma House), a small two-story, cast-in-place concrete
house completed in 1976, is an early work which began to show elements of his characteristic style. It
consists of three equal rectangular volumes: two enclosed volumes of interior spaces separated by an
open courtyard. The courtyard's position between the two interior volumes becomes an integral part of

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the house's circulation system. The house is famous for the contrast between appearance and spatial
organization which allow people to experience the richness of the space within the geometry.

Ando's housing complex at Rokko, just outside Kobe, is a complex warren of terraces and
balconies, atriums and shafts. The designs for Rokko Housing One (1983) and for Rokko Housing
Two (1993) illustrate a range of issues in traditional architectural vocabulary—the interplay of solid
and void, the alternatives of open and closed, the contrasts of light and darkness. More significantly,
Ando's noteworthy engineering achievement in these clustered buildings is site specific—the
structures survived undamaged after the Great Hanshin earthquake of 1995.

1.5.0 KERSTIN THOMPSON

Kerstin Thompson is an Australian architect, born in Melbourne in 1965. She is the principal
of Kerstin Thompson Architects (KTA), a Melbourne-based architecture, landscape and urban design
practice with projects in Australia and New Zealand. She is also Professor of Design at the School of
Architecture at Victoria University of Wellington, New Zealand, and Adjunct Professor at RMIT
University and Monash University.

1.5.1 Career

Thompson earned her bachelor's degree in architecture at RMIT in 1989. During her
undergraduate studies she worked in the Milan-based studio of Matteo Thun (1987) and the
Melbourne-based practice of Robinson Chen (1988–89). From 1990 to 1994 she was a lecturer in
architectural design at RMIT and she completed her Master's in Architecture there in 1998.

Since 1994 she has run her own architectural firm, Kerstin Thompson Architects (KTA). She
has won a number of awards for her houses. In 2012 Big Hill won the Houses Award for New House
over 200m2[ and in 2014 House at Hanging Rock won the Robin Boyd Award for Residential
Architecture – Houses (New); she is one of the first women to win this award. Thompson was a
member of the Federal Government's BEIIC Advisory Committee. She was the Creative Director for
the 2005 RAIA National Conference[6] and one of the Creative Directors for Australia's 2008 Venice
Biennale exhibition, Abundant Australia. She is a panel member of the Victorian Design Review Panel
(VDRP) with the Office of the Victorian Government Architect

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Kerstin Thompson

1.5.2 NOTABLE PROJECT

 House at Lake Connewarre, Leopold, Australia, 1999–2003[9]

 Napier Street Housing, Fitzroy, Australia, 2001[10]
 Upside-Down House, Melbourne, Australia, 2005[11]
 Visitors Centre at Royal Botanic Gardens, Cranbourne, Australia, 2007[12]
 Ivanhoe House, Melbourne, Australia, 2008
 Monash University Museum of Art, Melbourne, Australia, 2010[13][14]
 House at Big Hill, Victoria, Australia, 2011

 House at Hanging Rock, Victoria, Australia, 2013

1.6.0 DEMAS NWOKO

Demas Nwoko (born 1935) is a Nigerian artist, protean designer, architect and master builder.
As an artist, he strives to incorporate modern techniques in architecture and stage design to enunciate
African subject matter in most of his works. In the 1960s, he was a member of the Mbari club of
Ibadan, a committee of burgeoning Nigerian and foreign artists. He was also a lecturer at the
University of Ibadan. In the 1970s, he was the publisher of the now defunct New Culture magazine.

1.6.1 EARLY LIFE

Nwoko was born in 1935 in Idumuje Ugboko, a town that now has as its Obi (King)
Nwoko's nephew (Chukwunomso Nwoko). Nwoko grew up in Idumuje Ugboko appreciating
the newly constructed architectural edifices in the town and in the palace of the Obi, his father.
He went to study fine arts at the College of Arts, Science and Technology, in 1956, a year after

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the college was moved from its original location in Ibadan to Zaria. In 1962, he received a
scholarship from the Congress of Cultural Freedom to study at the Centre Français du Théâtre
in Paris where he learned scenic design. After completing his studies at Zaria and Paris, he
moved to Ibadan in 1963. In Ibadan, he originally concentrated on designs for theatrical
productions of the University of Ibadan's department of Drama while he was also a lecturer at
the university. While in the ancient city, he was sometimes short on cash and expenses to build
or buy a house and studio for his work. He then decided to build his studio and house from
traditional methods to complement his cash shortage. He used clay and laterite found around
the site chosen and built a brick house and studio from the natural resources lying around.

1.6.4 ARCHITECTURAL DESIGN

His inventiveness in using modern and new techniques for selected and protean African
art works led to his name being spread around town and in the country. Nwoko's first major
architectural design was for a Dominican mission in Ibadan. After the nation's independence,
some missions desired to decorate their churches with African motifs. He was originally
approached to design a plaque for a new chapel but he later asked the Dominican fathers to
help in designing a new chapel to be located in Ibadan. Although, his initial design was a little
bit crude with the utilisation of free-hand drawing, it was meant to accommodate local
exigencies such as the sunny atmosphere in Ibadan. Usually, his designs were designed to have
interior temperatures to be in contrast to the exterior temperatures at most times. His style was
moulded to fit into the temporal needs of African citizens in a given location.

Nwoko later went on to design more structures such as the Benin theatre, which used Greek
and the Japanese Kabuki designs. He also designed the scepter for his brother's coronation as
the Obi of Idumoje Ugboko. Other famous architectural works includes the cultural center,
Ibadan, which made use of natural forms to emphasise its relationship with nature and ancient
Yoruba art.

Nwoko's works fuse modern techniques in architecture and stage design with African tradition.
With works such as The Dominican Institute, Ibadan and The Akenzua Cultural Center, Benin,
to his credit, Nwoko is one "artist-architect" who believes in celebrating the African tradition
in his works. In 2007, Farafina Books published The Architecture of Demas Nwoko, a study of
Nwoko's work and theories written by two British architects, John Godwin OBE and Gillian
Hopwood.

1.7.0 REMMENT LUCAS KOOLHAAS

Remment Lucas Koolhaas (born 17 November 1944) is a Dutch architect, architectural theorist,
urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design
at Harvard University. He is often cited as a representative of deconstructivism and is the author of
‘Delirious New York: A Retroactive Manifesto for Manhattan’. Koolhaas studied at the Architectural
Association School of Architecture in London and at Cornell University in Ithaca, New York.
Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in
Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and

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Ole Bouman. He is widely regarded as one of the most important architectural thinkers and urbanists
of his generation. In 2000, Rem Koolhaas won the Pritzker Prize.

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CHAPTER TWO

2.0.0 NOTABLE BUIDINGS

2.1.0 PRADA TRANSFORMER

Prada Transformer is a temporary structure picked up by cranes and rotated to accommodate a variety
of cultural events. The 20-metre high Prada Transformer is located adjacent to the 16th Century
Gyeonghui Palace in the centre of Seoul. The pavilion consists of four basic geometric shapes - a
circle, a cross, a hexagon, a rectangle - leaning together and wrapped in a translucent membrane. The
building was first used for the fashion exhibition "Waist Down - Skirts by Miuccia Prada", which
began April 25, 2009. Its form and function was first changed on June 26, 2009, into a movie theater.

Each shape is a potential floor plan designed to be ideal for three months of cultural programming: a
fashion exhibition (Waist Down, featuring skirts designed by Miuccia Prada), a film festival (co-
curated by Alejandro González Iñárritu), an art exhibition (by Swedish video artist and sculptor
Nathalie Djurberg), and a Prada fashion show. Walls become floors and floors become walls as the
pavilion is flipped over by three cranes after each event to accommodate the next.

VHTThe Prada Transformer is an unusual building which has one of four different apparent shapes,
depending on the function for which the building is needed at the moment. The building is roughly in
the shape of a tetrahedron. Cranes rotate the building so that different surfaces of the tetrahedron face
downward, thereby changing the building's form and function.

The different faces of the "tetrahedron" are actually shapes other than triangles. The building's base is
a hexagon when used for a fashion exhibition, a rectangle when used as a movie theater, a cross when
used for an art exhibition and a circle when used for a special event. The building was funded by
Prada, and designed by Rem Koolhaas' architecture firm Office for Metropolitan Architecture.

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2.2.0 The Papal Basilica of St. Peter in the Vatican

(Italian: Basilica Papale di San Pietro in Vaticano), or simply St. Peter's Basilica (Latin: Basilica
Sancti Petri), is an Italian Renaissance church in Vatican City, the papal enclave within the city of
Rome.

Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini,
St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world.
While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome,
St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique
position in the Christian world"[4] and as "the greatest of all churches of Christendom".

St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a
number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either
within the Basilica or the adjoining St. Peter's Square.[7] St. Peter's has many historical associations,
with the Early Christian Church, the Papacy, the Protestant Reformation and Catholic Counter-
reformation and numerous artists, especially Michelangelo. As a work of architecture, it is regarded as
the greatest building of its age. St. Peter's is one of the four churches in the world that hold the rank of
Major Basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral
because it is not the seat of a bishop; the Cathedra of the Pope as Bishop of Rome is in the
Archbasilica of St. John Lateran.

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2.3.0 HAGIA SOPHIA

Hagia Sophia (/ˈhɑːɡiəsoʊˈfiːə/; from the GreekΑγίαΣοφία, pronounced [aˈʝiasoˈfia], "Holy Wisdom";
Latin: Sancta Sophia or Sancta Sapientia; Turkish: Ayasofya) is the former Greek Orthodox
Christianpatriarchal cathedral, later an Ottoman imperialmosque and now a museum (AyasofyaMüzesi)
in Istanbul, Turkey. Built in 537 AD at the beginning of the Middle Ages, it was famous in particular
for its massive dome. It was the world's largest building and an engineering marvel of its time. It is
considered the epitome of Byzantine architecture[1] and is said to have "changed the history of
architecture".[2]

The Hagia Sophia construction consists of mostly masonry. The structure is composed of brick and
mortar joints that are 1.5 times the width of the bricks. The mortar joints are composed of a
combination of sand and minute ceramic pieces displaced very evenly throughout the mortar joints.
This combination of sand and ceramic pieces could be considered to be the equivalent of modern
concrete at the time. Hagia Sophia is one of the greatest surviving examples of Byzantine architecture.
Its interior is decorated with mosaics and marble pillars and coverings of great artistic value. The
temple itself was so richly and artistically decorated that Justinian proclaimed, "Solomon, I have
outdone thee!"(ΝενίκηκάσεΣολομών). Justinian himself had overseen the completion of the greatest
cathedral ever built up to that time, and it was to remain the largest cathedral for 1,000 years up until
the completion of the cathedral in Seville in Spain.[69]

Justinian's basilica was at once the culminating architectural achievement of late antiquity and the first
masterpiece of Byzantine architecture. Its influence, both architecturally and liturgically, was
widespread and enduring in the Eastern Orthodox, Roman Catholic, and Muslim worlds alike.

The vast interior has a complex structure. The nave is covered by a central dome which at its
maximum is 55.6 m (182 ft 5 in) from floor level and rests on an arcade of 40 arched windows.
Repairs to its structure have left the dome somewhat elliptical, with the diameter varying between
31.24 and 30.86 m (102 ft 6 in and 101 ft 3 in). At the western entrance side and eastern liturgical side,
there are arched openings extended by half domes of identical diameter to the central dome, carried on
smaller semi-domedexedras; a hierarchy of dome-headed elements built up to create a vast oblong
interior crowned by the central dome, with a clear span of 76.2 m (250 ft). Interior surfaces are
sheathed with polychrome marbles, green and white with purple porphyry, and gold mosaics. The
exterior, clad in stucco, was tinted yellow and red during restorations in the 19th century at the
direction of the Fossati architects.

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2.4 National Arts Theatre, Lagos

The national theatre is situated in Iganmu, Surulere Lagos. Completed in 1976 in readiness for
the festival of Arts and culture in 1977, the building is main spot for performing arts in Nigeria. Built
on 23,300 square ,eters land,it height of 31 meters. The outstanding architectural work has a hat-like
shape and offers 5000- seater as well as a collapsible stage. The National Arts Theatre is visible from
the motorway system which connects Lagos Island and the mainland: an iconic modern structure
which rises, it is often noted, like the peak of a military cap from the surrounding parkland. On the
first day of the four-day Eid public holiday there are no arts to be seen: the theatre and the art gallery
operating within are both closed for business, guarded by relaxed-looking men in military uniform.
The park is full of children walking, running, sitting, playing; smartly dressed children shooed by their
mother, clip-clopping along the pavements; colorful stands sell snacks and drinks; miniature bottles of
liquor scattered in the grass. This enthusiastic misuse of the site reflects some of the reasons for which
it has, in the last two decades, become a huge problem for the Federal and State Governments.

In later years, a new controversy around the use of the Theatre site arose, and quickly became
emblematic of the fraught relationship between culture and development in Lagos. This April there
were more rumblings after rumours circulated that the National Theatre would be sold by the Federal
Government and replaced by a five-star hotel. Following an outraged response, the Lagos State
Government promised to challenge the federal government’s decision. The federal government
eventually made it clear that they were proposing the development of land surrounding the theatre —
where the Lagos Rail Mass Transit Project is already under construction — into a hotel, restaurants,
offices, shopping malls.

2.5 Villa Savoye

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Villa Savoye (French pronunciation: [sa.vwa]) is a modernist villa in Poissy, on the outskirts of Paris,
France. It was designed by the Swiss architects Le Corbusier and his cousin, Pierre Jeanneret, and built
between 1928 and 1931 using reinforced concrete. As an exemplar of Le Corbusier's"five points" for
new constructions, the villa is representative of the origins of modern architecture, and is one of the
most easily recognizable and renowned examples of the International style. The Villa Savoye, which is
probably Le Corbusier's best known building from the 1930s, had an enormous influence on
international modernism.[16] Its design embodied his emblematic "Five Points", the basic tenets in his
new architectural aesthetic:[5]The

1. Support of ground-level pilotis, elevating the building from the earth and allowing the garden
to be extended to the space beneath.
2. A functional roof serving as a garden and terrace, reclaiming for Nature the land occupied by
the building.
3. A free floor plan, devoid of load-bearing walls, allowing walls to be placed freely and only
where aesthetically needed.
4. Long horizontal windows for illumination and ventilation.
5. Freely-designed façades functioning merely as a skin for the wall and windows, and
unconstrained by load-bearing considerations.

The Villa Savoye, which is probably Le Corbusier's best known building from the 1930s, had an
enormous influence on international modernism. Its design embodied his emblematic "Five Points",
the basic tenets in his new architectural aesthetic: The

1. Support of ground-level pilotis, elevating the building from the earth and allowing the garden
to be extended to the space beneath.
2. A functional roof serving as a garden and terrace, reclaiming for Nature the land occupied by
the building.
3. A free floor plan, devoid of load-bearing walls, allowing walls to be placed freely and only
where aesthetically needed.
4. Long horizontal windows for illumination and ventilation.
5. Freely-designed façades functioning merely as a skin for the wall and windows, and
unconstrained by load-bearing considerations.

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The Villa Savoye was a very influential building of the 1930s, and imitations can be found all over the
world.

2.6 The Empire State Building

The Empire State Building is a 102-story Art Decoskyscraper in Midtown Manhattan, New York
City. Designed by Shreve, Lamb & Harmon and completed in 1931, the building has a roof height of
1,250 feet (380 m) and stands a total of 1,454 feet (443.2 m) tall, including its antenna. Its name is
derived from "Empire State", the nickname of New York, which is of unknown origin. As of 2019 the
building is the 5th-tallest completed skyscraper in the United States and the 28th-tallest in the world. It
is also the 6th-tallest freestanding structure in the Americas. The Empire State Building stood as the
world's tallest building for nearly 40 years until the completion of the World Trade Center's North
Tower in Lower Manhattan in late 1970. Following the September 11 attacks in 2001, it was again the
tallest building in New York until the new One World Trade Center was completed in April 2012.

The site of the Empire State Building, located in Midtown South on the west side of Fifth Avenue
between West 33rd and 34th Streets, was originally part of an early 18th-century farm. It was later
purchased by the Astor family, who built the Waldorf–Astoria Hotel on the site in the 1890s. The hotel
remained in operation until the late 1920s, when it was sold to the Bethlehem Engineering
Corporation, then to Empire State Inc., a business venture that included famous businessman and
former General Motors executive, John J. Raskob, members of the du Pont family, and former New
York governor Al Smith.[15] The original design of the Empire State Building was for a 50-story office
building. However, after fifteen revisions, the final design was for an 86-story 1,250-foot building,
with an airship mast on top. This ensured it would be the world's tallest building, beating the Chrysler
Building and 40 Wall Street, two other Manhattan skyscrapers under construction at the time that were
also vying for that distinction.

Demolition of the Waldorf–Astoria began in October 1929, and the foundation of the Empire State
Building was excavated before demolition was even complete. Construction on the building itself
started on March 17, 1930, with an average construction rate of four and a half floors per week. A
well-coordinated schedule meant that the 86 stories were topped out on September 19; the mast was

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completed by November 21; and the building was opened on May 1, 1931, thirteen and a half months
after the first steel beam was erected. Despite the publicity surrounding the building's construction, its
owners failed to make a profit until the early 1950s. However, since its opening, the building's Art
Deco architecture and open-air observation deck has made it a popular tourist attraction, with around 4
million visitors from around the world visiting the building's 86th and 102nd floor observatories every
year.[16] Since the mid-2010s, the Empire State Building has been undergoing improvements to
improve access to its observation decks.[1]

The height of the Empire State Building, to its 102nd floor, is 1,250 ft (381 m), 1,453 feet 8 9⁄16 inches
(443.092 m) including its 203 ft (61.9 m) pinnacle.[60] The building has 85 stories of commercial and
office space representing a total of 2,158,000 sq ft (200,500 m2) of rentable space. It has an indoor and
outdoor observation deck on the 86th floor, the highest floor within the actual tower.[60] The remaining
16 stories are part of the Art Deco spire, which is capped by an observatory on the 102nd-floor. The
spire is hollow with no floors between levels 86 and 102.[60] Atop the tower is the 203 ft (61.9 m)
pinnacle, much of which is covered by broadcast antennas, and surmounted with a lightning rod.[165]

2.7 The Burj Al Arab

The Burj Al Arab was designed by multidisciplinary consultancy Atkins led by architect Tom Wright,
who has since become co-founder of WKK Architects. The design and construction were managed by
Canadian engineer Rick Gregory also of WS Atkins. It is very similar to the Vasco da Gama Tower
located in Lisbon, Portugal. Construction of the island began in 1994 and involved up to 2,000
construction workers during peak construction. It was built to resemble the billowing spinnaker sail of
a J-class yacht. Two "wings" spread in a V to form a vast "mast", while the space between them is
enclosed in a massive atrium. The architect Tom Wright[14] said "The client wanted a building that
would become an iconic or symbolic statement for Dubai; this is very similar to Sydney with its Opera
House, London with Big Ben, or Paris with the Eiffel Tower. It needed to be a building that would
become synonymous with the name of the city."

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Site

The beachfront area where Burj Al Arab and Jumeirah Beach Hotel are located was previously called
Miami Beach. The hotel is located on an island of reclaimed land 280 meters offshore of the beach of
the former Chicago Beach Hotel. The locale's name had its origins in the Chicago Bridge & Iron
Company which at one time welded giant floating oil storage tanks, known locally as Kazzans on the
site. Fletcher Construction from New Zealand was the lead joint venture partner in the initial stages of
pre-construction and construction.[16] The hotel was built by South African construction contractor
Murray & Roberts and Al Habtoor Engineering and the interior works were delivered by UAE based
Depa.

The building opened in December 1999. The hotel’s helipad, one of the buildings most visible
contributions was designed by Irish architect Rebecca Gernon who worked as a part of the Atkins
team and later went onto founding her own architecture and interior design company (Serendipity By
Design), headquartered in Dubai with offices in Manila and Dublin.

Features

Several features of the hotel required complex engineering feats to achieve. The hotel rests on an
artificial island constructed 280 m (920 ft) offshore. To secure a foundation, the builders drove 230
forty-meter-long (130 ft) concrete piles into the sand. Engineers created a ground/surface layer of large
rocks, which is circled with a concrete honeycomb pattern, which serves to protect the foundation
from erosion. It took three years to reclaim the land from the sea, while it took fewer than three years
to construct the building itself. The building contains over 70,000 m3 (92,000 cu yd) of concrete and
9,000 tons of steel. Inside the building, the atrium is 180 m (590 ft) tall

Given the height of the building, the Burj Al Arab is the world's fifth tallest hotel after Gevora Hotel,
JW Marriott Marquis Dubai, Four Seasons Place Kuala Lumpur and Rose and Rayhaan by Rotana. But
where buildings with mixed use were stripped off the list, the Burj Al Arab would be the world's third
tallest hotel. The structure of the Rose Rayhaan, also in Dubai, is 12 m (40 ft) taller than the Burj Al
Arab

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