19ARH210T - HISTORY OF

ARCHITECTURE IV - CONTEMPORARY
CYCLE - 2

ARCHITECTURE IN WESTERN CONTEXT

Ar.MANJARI.K,M.ARCH
Assistant Professor,
SAID,SRMIST
 Post Modernism
high Tech Architecture
Richard Rogers and Renzo Piano
Organic Architecture – F.L.Wright
Five Principles of Architecture by Lecorbuiser
Louis Khan
I.M.Pei .
Deconstructivism
Zaha Hadid
Santiago Calatrova
Peter Eisenman
 Daniel libeskind
Peter Zumthor

Ar.MANJARI.K,M.ARCH
Assistant Professor,
SAID,SRMIST
INTRODUCTION TO POST MODERNISM.
EVOLUTION, PRINCIPLE AND OBJECTIVES OF POST MODERNISM.
Postmodernism – international architectural movement that emerged in the 1960s, became
prominent in the late 1970s and 80s, and remained a dominant force in the 1990s.

Postmodernist movement is often seen as an American movement, starting in USA around the
1960s–1970s and then spreading to Europe and the rest of the world.
The movement largely has been a reaction against the austerity, simplicity and functional design
approach of the modern architecture/international style.
Rejection of strict rules set by the early modernists and seeks high spirits in the use of building
techniques, angles, and stylistic references.

Postmodernism has its origins in the perceived failure of Modern

Architecture; its preoccupation with functionalism and
economical building which failed to meet the human need for
comfort both for body and for the eye. In response, postmodern
architects sought to reintroduce ornament, color, decoration
and human scale to buildings. Form was no longer to be defined
solely by its functional requirements or minimal appearance.

Significance of Post Modernism

CHARACTERISTICS OF POSTMODERNISM
•Postmodern Architecture rejects the notion of “pure” or “perfect” form, instead it draws from: all
methods, materials, forms, & colors available to architects.
•Moves away from the neutral white colors seen in modernism the return of "wit, ornament and
reference" to architecture
•Took past components of different styles and melded them together to create new means of
design.
• It is known for the re-emergence of surface ornament, reference to its surrounding buildings,
and historical references revival of traditional elements and techniques.
•Post modernists looked into past architecture in order to learn from it. Classical designs such as
pillars, arches, and domes used in new, almost humorous ways, just
to send a message to the modernist people. It favored personal preferences and variety over
objective truths and principles!
•Sensitivity to the building’s
context, history and the client’s
requirements
•Physical characteristics- the
use of sculptural forms,
ornaments and
anthropomorphism
•Conceptual characteristics -
pluralism, double coding, high
ceilings, irony, paradox &
contextualism.
PIONEERS OF THE POSTMODERNIST MOVEMENT

https://en.wikipedia.org/wiki/P
ostmodern_architecture

https://www.invaluable.com/bl
og/postmodern-architecture/

https://www.dezeen.com/2015
/07/23/guide-to-postmodern-
architecture-design-glenn-
adamson/
SIGNIFICANCE OF HIGH TECH ARCHITECTURE

High-tech architecture, also known as Structural

Expressionism, is a type of Late Modern architectural
style that emerged in the 1970s, incorporating elements
of high tech industry and technology into building design.
High-tech architecture grew from the modernist style,
utilizing new advances in technology and building
materials.

It emphasizes transparency in design and construction,

seeking to communicate the underlying structure and
function of a building throughout its interior and exterior.
High-tech architecture makes extensive use of steel, glass,
and concrete, as these materials were becoming more
advanced and available in a wider variety of forms at the
time the style was developing.

High-tech architecture focuses on creating adaptable buildings through choice of

materials, internal structural elements, and programmatic design.
It seeks to avoid links to the past, and as such eschews building materials commonly used
in older styles of architecture. Common elements include hanging or overhanging floors, a
lack of internal load-bearing walls, and reconfigurable spaces.
 The style's premier practitioners include the following: Bruce
Graham, Fazlur Rahman Khan, Minoru Yamasaki,
Sir Norman Foster, Sir Richard Rogers, Sir Michael
Hopkins, Renzo Piano, and Santiago Calatrava.

CHARACTERISTICS OF HIGH TECH ARCHITECTURE

High-tech buildings often incorporate a range of materials

reminiscent of industrial production.

Steel, glass, and concrete are all commonly found in high-

tech structures, as these elements evoke a feeling of being
mass-produced and widely available.
The HSBC Hong Kong
Not all high-tech designs are made to accommodate truly headquarters, completed in 1985, is
mass-produced materials, but nonetheless seek to convey an example of high-tech
architecture.
a sense of factory creation and broad distribution.
•Tensile structures,
A focus on strong,
•cross beams, and
simplistic, and transparent
•exposed support and
elements all connect high-
•maintenance elements are all important components found in
tech as a style to the
high-tech designs.
principles of engineering.
CHARACTERISTICS OF HIGH TECH ARCHITECTURE

1. The emphasis on exposed colored technical elements.

2. The prominent display of the building's technical and functional components on the
external façade.
3. The use of pre-fabricated elements, glass walls and steel frames.
4. Technology being the main feature of the building.
5. Architecture design is very much functionally orientated.
6. The large interior open space and the easy access to all floors
7. Neatness in architectural design.
8. The high-tech buildings make persistent use of glass curtain walls and steel structure.
9. It is greatly indebted to modern architecture, and influenced by Mies van der Rohe's
high rise buildings.
10. It's a British Oriented Architecture style that started its imprint by the seventies of
the last century.
Background Architect: Renzo Piano, Richard Rogers and
Gianfranco Franchini

Location: Paris, France

Structural Engineer: Arup
Area: Land area：5 acres
Floor Area：103,305㎡
Project Year: 1971-1977
 RENZO PIANO
Renzo Piano was born on September 14, 1937 in Genoa (Italy), in
the bosom of a wealthy family of construction companies Renzo
Piano's work has been called high-tech and bold
postmodernism.

The interior is open, light, modern, natural, old and new at the same
time. "Unlike most other architectural stars,“ writes architecture
critic Paul Goldberger, "Piano has no signature style. Instead, his
work is characterized by a genius for balance and context.

RICHARD ROGERS
PHILOSOPHY AND ARCHITECTURAL STYLE:

Richard George Rogers, born on July 23rd 1933 in Florence, is

an Italian born British architect known for his modernist and
functionalist designs.
Richard Rogers’ architectural philosophy’s topics are legible,
transparent, lightweight, systems, urban, public and green.

“Georges Pompidou National Art and Cultural Centre”

French national cultural Centre on the Rue Beaubourg and on the fringes of the historic Marais
section of Paris; a regional branch is located in Metz. It is named after the French president
Georges Pompidou, under whose administration the museum was commissioned.
CENTRE GOERGES POMPIDOU THEMES OF THE DESIGN

Type : Culture and Leisure • Flexible envelope

Architectural style : Postmodern /High-Tech • Steel structure
Structural system : superstructure • Simple geometric form
with reinforced concrete floors. • Exterior mechanical
• Open plaza
It is a building in two parts: • Building circulation

1. Three levels of
infrastructure where they
gather technical facilities and
service,
2. A large glass and steel
superstructure of seven
levels, including the terrace
and the mezzanine, which
concentrates most sectors of
activity of the Center, with
the exception
of Ircam, located in the plaza
Stravinsky.
• The plan is rectangular, with the longer sides on the front of the square and the service.
• It has a patio at the upper right .
The initial intention was to
create much more than a
museum; rather, Renzo
Piano and Richard Rogers
sought to create a cultural
icon.
Their competition entry was
the only to propose using
half of the available land on-
site. Located in the building
are an Industrial Creative
Center, Public Library,
Modern Art Museum, and
Center for Music &
Acoustic Research The
skeleton itself turns the
building inside-out, color
coding the different
mechanical, circulatory and
structural systems. Rogers
and Piano also intended for
the space to be flexible, with
large spans unimpeded by
columns.
SECTIONAL ELEVATION - NORTH •The different systems on the exterior of
the building are painted different colors
to distinguish their different roles.

• The structure and largest ventilation

components were painted white,
stairs and elevator structures were
painted a silver grey, ventilation was
painted blue, plumbing and fire control
piping painted green, the electrical
elements are yellow and orange, and the
elevator motor rooms and shafts, or the
elements that allow for movement
throughout the building, are
painted red.

•One of the "movement" elements that

the center is most known for is the
escalator (painted red on the bottom) on
the west facade, a tube that zigzags up to
the top of the building providing visitors
with an astonishing view of the city of
Paris.
ESCALATOR - The plexiglass escalator tubes
running up the six floors of the Centre Georges
Pompidou's western façade.
A tube that zigzags up to the top of
the building providing visitors with
an astonishing view of the city of
Paris.
F.L.WRIGHT
1. THE FALLING WATER HOUSE, Pennsylvania.
Frank Lloyd Wright (June 8, 1867 – April 9, 1959) - An American architect, interior designer,
writer, and educator who designed more than 1,000 projects, of which more than 500
resulted in completed works.

Wright promoted organic architecture (exemplified by Falling water)

" ...having a good start, not only do I fully intend to be the greatest architect who has yet
lived, but fully intend to be the greatest architect who will ever live. Yes, I intend to be
the greatest architect of all time."

THE FALLING WATER HOUSE ,Pennsylvania

Client : Edgar.J.Kaufmann
Location : Mill Run, Pennsylvania
Nearest city : Pittsburgh
Built/Founded : 1935
Construction of the main house was
started in April 1936 and was completed in
October 1937.
Architectural style(s): Modernism
Cost estimated : $155,000

F.L.WRIGHT
•The design of the house the house promotes a harmony between man and
nature, so that the buildings, walls, and structures within the house are extensions
of the exterior world.
•The materials of the structure blend with the colorings of rocks and trees, while
occasional accents are provided by bright furnishings, like wildflowers or birds
outside.
•The cantilevered house which sits on a waterfall that is audible rather than
visible was Wright’s unique achievement.
•In designing the house, Wright mimicked the natural pattern of rock ledges
over the waterfall and cantilevered the house over the falls in a serious of
concrete ledges, anchored to masonry walls made of the same sandstone as
the rock ledges.
•The paths within the house, stairs & passages, meander without formality or
urgency, and the house hardly has a main entrance; there are many ways in
and out.

The living spaces extend up

to the waterfall giving a
spectacular view of
surroundings. A staircase
directly leads to the water
fall.
The upper floor consists of
bedrooms, bathrooms and
two terraces while the
smaller top floor has one
bedroom, a gallery and a
terrace.
• The bedroom on the
second floor opens on to
the terrace, which is
cantilevered more than the
terrace of the first floor.

• The second floor is much

smaller than the first and
have only one bedroom
with an adjoining terrace.

THIRD FLOOR PLAN

The bedroom on the

third level has a study,
gallery and access to
outdoor terrace as
well.
SIDE ELEVATION The section shows the extent to which the
main and upper floors are cantilevered.

MATERIALS USED –

•The vertical elements of the house are constructed of NATIVE STONES, with “stick
outs” to give more sculptural quality to the stone masses.
•The horizontal elements are made of poured CONCRETE.
•The floors throughout are paved in stone, same is done with the walls as well.
•WOODWORK is a sap grain walnut, executed at an extremely fine level of
craftsmanship.
CONTRASTING FEATURES –

•House is a combination of the organic and the geometric forms.

•The horizontal forms of the concrete cantilevered balcony and canopies is
in contrast to the vertical masonry pylons of local stones.
•The materials used the natural stone and concrete, contradict each other.
•The house creates the combination of a feeling of security with a sense of
open freedom against the dense wilderness outside.

Falling water house stands as one of Wright’s greatest masterpieces both

for its DYNAMISM and for its integration with its striking natural surroundings.
The fireplace hearth in the living room is composed of boulders found on
the site and upon the house was built.
Another strange detail about the house is that glass meets the walls, there
is no metal frame; rather, the glass is caulked directly to the stone.
CONCLUSION –

The house had certain drawbacks too,

Pronounced sags were noticed immediately
with both of the prominent balconies.
Inspite of its drawbacks, The Falling water
House yet stands as a greatest work of Wright,
bringing close in relationship between man
and nature.
LE CORBUSIER

Le Corbusier was born Charles-Edouard Jeanneret-Gris in

Switzerland on October 6, 1887. In 1917, he moved to Paris and
assumed the pseudonym Le Corbusier. In his architecture, he
chiefly built with steel and reinforced concrete and worked with
elemental geometric forms.
LE CORBUSIER
FIVE PRINCIPLES OF ARCHITECTURE
1. PILOTIS - Raise the building on “pilotis,” freeing the walls of their structural function.

2. FREE PLAN - With the walls freed of their structural role, a free plan should be employed.

3. FREE FAÇADE - Similarly, the facade should be designed freely.

4. ROOF GARDEN - The roof should be flat and host a roof garden, replacing the ground space
that is occupied by the building.

5. BRISE SOLELIL - The horizontal ribbon window, enabled by the free facade, should be used
to light rooms evenly.
NOTRE DAMN DUE HAUT CHAPEL , LE CORBUSIER

Notre damn due haut chapel,France is one

of lecorbusier’s most original , least
controversial and widely admired building.

The building is the relief from the severity

and logic and the international style , though
if confirms with the system of proportional
dimensions ( modulor )

The building demonstrated that the most

rational of architects could design , a building
that is essentially personal and poetic , a work
of sculpture in concrete which springs from
faith nor reason.
 In the words of the architect ‘ I sought to create a place of silence , of
prayer , peace and inner joy. An experimental form probably Inspired
by the landscape.

 One can read in the forms the dual function he wanted to give the
building
 a small chapel for prayer / meditation.
 place of worship – vast crowd of pilgrims

 The idea of deep grotto for the small chapel – by effects of soft ,
round masses that surround the observer and give reassurance.

 Though the firm in no way correspond to that of a traditional roman

church , it had the same sacred atmosphere , bulky volumes , thick
walls , deep splays and semi darkness. Thus it exhibits implicit bond
with the past.
LOUIS I KAHN
1. KIMBELL ART MUSEUM
Louis Isadore Kahn was an American architect, based in
Philadelphia. After working in various capacities for several
firms in Philadelphia, he founded his own atelier in 1935.
Inspired from Roman Architecture
• Roman Arch and Vault
• The idea of creating a space that
evoked “the luminosity of silver”
• Composed with 16 barrel cycloid
vault.
• Each vault 100’ long, 20’ high and
20’ wide.
• Vaults are grouped into three wing
• Central wing has 4 vaults with the
western one open as entrance.
 LOWER FLOOR PLAN

SITE PLAN

UPPER FLOOR PLAN

SECTIONS
• Concrete shell and column structure
• No true vault
• Vaults are made as concrete shell
• Concrete vault shell has beam on each edge and beam supported by 4 column on each corner
• Concrete arch is used in the both end of the shell to make I stronger
• The arch is connected with the column
• Walls connecting the columns are used to make the
building stable
• All the walls are detached with the vault to define that
they are not used as structure
• Space between the vault and the walls are covered with
glass
• All the structure is visible inside and outside.
 • Light courts 1 in left and 2 in right wing are given to
enter the natural light.
• light also came from the long punch in the apex of the
vault.

• Anodized aluminum wings are used to

reflect the sun light to give a silvery lighted
roof
• Glass is used under the aluminum wing
• Shape of the aluminum wing is defined
by computer
• it is one of the first architectural elements ever to be designed
with computer technology.
• Artificial lighting is provided from the edge of the glass
panels.

• Air duct and other mechanical services are located at

the flat channels between the vault.

• "like a piece of sculpture outside the

building.“ - Louis I Kahn
• Illustrates how the building is constructed.
MATERIALS
• Concrete
• Travertine
• Anodized aluminum
• glass
KIMBELL ART MUSEUM
I.M.PEI
Ieoh Ming Pei, FAIA, RIBA was a Chinese-
American architect. Born in Guangzhou, raised in
Hong Kong and Shanghai, Pei drew inspiration at
an early age from the garden villas at Suzhou, the
traditional retreat of the scholar-gentry to which
his family belonged.
GRAND LOUVRE, PARIS
In 1981, the newly elected French president, Francois Mitterrand,
launched a campaign to renovate cultural institutions throughout
France. One of the most advantageous of those projects was the
renovation and reorganization of the Louvre.

In 1983 after touring Europe and the United States, President Mitterrand
commissioned the Chinese American architect, I.M. Pei. It was the first
time that a foreign architect was enlisted to work on the Louvre museum.

Completed in 1989, I.M. Pei’s renovation redesigned Cour Napoleon, the

main court of the Louvre, in order to alleviate the congestion from the
thousands of daily visitors. A new grand entrance provided a convenient,
central lobby space separate from the galleries, which provided focal point
for the cyclical process of one’s experience through the museum.

In addition to providing a new entrance to the Louvre,

Pei’s design featured a new underground system of
galleries, storage, and preservation laboratories, as well as
a connection between the wings of the museum.

The addition and relocation of the supporting spaces of the

museum allowed for the Louvre to expand its collection
and place more work on exhibit.
GRAND LOUVRE, PARIS
Pei’s design of the Louvre addition implemented a large
glass and steel pyramid that is surrounded by three smaller
triangles that provide light to the space below Cour
Napoleon. For Pei, the glass pyramid provided a symbolic
entry that had historical and figural importance that
reinforced the main entry.
The monumental appearance of the glass and steel
pyramid fixed in the middle of the court provides a central
focal point that compliments the scale and design of the
Louvre.

The scale of the large pyramid, which is designed to the same proportions of
the famous Pyramid of Giza, does not detract from the historical nature of the
museum rather the juxtaposition of the modern structure and the French
Renaissance architectural style of the museum creates a complimentary effect
that enhances each of the design’s details and beauty.

So much so that the sloping glass walls of the pyramid begin to pay homage to
the mansard roofs of the museum, and the opaque, heavy qualities of the
Louvre’s façade exaggerate the transparency of Pei’s design.

“Formally, it is the most compatible with the architecture of the Louvre..., it is

also one of the most structurally stable of forms, which assures its
transparency, as it is constructed of glass and steel, it signifies a break with the
architectural traditions of the past. It is a work of our time.” – I.M. Pei
 Much of the criticism surrounding the renovation was not
because of the addition to the museum itself, but more of an
issue of styles. Most felt that Pei’s modern design aesthetic
would clash with the Louvre’s Classical architecture;
appearing as an alien form.
However, as the decades have passed and Paris has
modernized Pei’s design has become embedded in the Parisian
culture. It is regarded with similar significance to that of the
Eiffel Tower becoming an icon for the people of Paris, as well
as the world. Pei’s design has become synonymous with the
image of the Louvre marking it as an inseparable entity from
the museum and of Paris.

With the history of the Louvre dating back to the 12th

Century, one could imagine that the modern design
implemented by Pei would not be fully accepted by the
historically enamored Parisian’s. The site of the Louvre was
originally a dungeon and fortress for Philippe Auguste,
which was later transformed into a palace under King Francis
I in 1546. It wasn’t until 1793 that Louis XVI had turned the
Louvre into a museum. The Louvre has been deeply
rooted in the history and culture of the Parisian people.
DECONSTRUCTIVISM CONCEPTS

Deconstructivism:
Deconstructivism in architecture, also called deconstruction, is a development of
postmodern architecture that began in the late 1980s. It is characterized by ideas of
fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-
rectilinear shapes which serve to distort and dislocate some of the elements of architecture,
such as structure and envelope.
Originally, some of the architects known as Deconstructivists were influenced by the ideas
of the French philosopher Jacques Derrida. Eisenman developed a personal relationship
with Derrida, but even so his approach to architectural design was developed long before
he became a Deconstructivist.

Deconstructivism should be considered an extension of his interest in radical formalism.

Some practitioners of deconstructivism were also influenced by the formal experimentation
and geometric imbalances of Russian constructivism. There are additional references in
deconstructivism to 20th-century movements: the modernism/postmodernism interplay,
expressionism, cubism, minimalism and contemporary art. The attempt in deconstructivism
throughout is to move architecture away from what its practitioners see as the constricting
'rules' of modernism such as "form follows function," "purity of form," and "truth to
materials."
ANALYZING THE CONCEPT EVOLUTION OF DECONSTRUCTIVISM
Context and Influences:
Deconstructivism in contemporary architecture stands in opposition
to the ordered rationality of Modernism. Its relationship with
Postmodernism is also decidedly contrary. Though postmodernist
and nascent deconstructivist architects published theories alongside
each other in the journal Oppositions (published 1973–84), that
journal's contents mark the beginning of a decisive break between the
two movements.
Robert Venturi's Complexity and Contradiction in architecture (1966). A
Seattle Central Library
defining point for both postmodernism and for deconstructivism,
Complexity and Contradiction argues against the purity, clarity and
simplicity of modernism.
With its publication, functionalism and rationalism, the two main branches of modernism,
were overturned as paradigms according to postmodernist and deconstructivist readings,
with differing readings.
Some Postmodern architects endeavored to reapply ornaments even to economical and
minimal buildings, an effort best illustrated by Venturi's concept of "the decorated shed."
Rationalism of design was dismissed but the functionalism of the building

Thesis of Venturi's next major work, that signs and ornament can be applied to a pragmatic
architecture, and instill the philosophic complexities of semiology.
 The deconstructivist reading of Complexity and Contradiction is quite
different. The basic building was the subject of problematics and
intricacies in deconstructivism, with no detachment for ornament.

Rather than separating ornament and function, like postmodernists such

as Venturi, the functional aspects of buildings were called into question.
Geometry was to deconstructivists what ornament was to
Vitra Design Museum by Frank Gehry
postmodernists, the subject of complication, and this complication of
geometry was in turn, applied to the functional, structural, and spatial
aspects of deconstructivist buildings.

Another example of the deconstructivist reading of Complexity and

Contradiction is Peter Eisenman's Wexner Center for the Arts.
The Wexner Center takes the archetypal form of the castle, which
it then imbues with complexity in a series of cuts and fragmentations. A
three-dimensional grid, runs somewhat arbitrarily through the building. The
grid, as a reference to modernism, of which it is an accoutrement, collides The Wexner center's Gridwork facing the
south side of the building
with the medieval antiquity of a castle. Some of the grid's columns
intentionally don't reach the ground, hovering over stairways creating a
sense of neurotic unease and contradicting the structural purpose of the
column.

•https://www.jbdesign.it/idesignpro/deconstructivism.html
•http://www.visual-arts-cork.com/architecture/deconstructivism.htm
Sidewalk in the Wexner Center
ZAHA HADID
Dame Zaha Mohammad Hadid DBE RA was a British Iraqi
architect, artist and designer, recognised as a major figure in
architecture of the late 20th and early 21st centuries.
 Architect:
Zaha Hadid Architects, Zaha
Hadid, Patrik Schumacher
Associate Architect:
Saffet Kaya Bekiroglu
Year of construction:
2007-2012
Roof Height: 74m
Length: 10,092m
Floors: 9
The Heydar Aliyev Center, with
57,519 sq.m built, is a complex of
buildings designed by British Iraqi
architect Zaha Hadid, noted for its
architecture and fluid curved style
that avoids sharp angles.

•The center is named Heydar Aliyev, leader during the Soviet Azerbaijan 1969-1982, and
president of the country from October 1993 to October 2003.
•The Heydar Aliyev Center, an internationally recognized architectural work, has become a
benchmark in the modern Baku, due to its innovative and cutting edge design.
•The building was nominated for the World Architecture Festival and Inside Biennial Festival in
2013.
LOCATION –

•Located near the city center, the site has a fundamental role in the redevelopment of Baku,
Azerbaijan Republic, on the west coast of the Caspian Sea. To access the center has planned a
new subway line that leaves the visitor at the foot of the small hill on which the building sits.
•The spaces surrounding the Cultural Center of Heydar Aliyev were approved for residential,
offices, a hotel and a shopping mall, while the ground between the cultural center and the main
artery of the city became the Cultural Plaza, a space open for public use.
CONCEPT –
•The structure accompanying Hadid variations within the unit. With a continuous self- processing design in
all directions, there is little sense of limits, and no indication of completion is an immersion in a bath of
space.
• The immateriality of a building varies between white, whiter and even whiter depending on the incidence of
the sun on their surfaces, give a weightless character, releasing gravitational visitors obligations.
•As an object, the building is subjective, causing strong feelings triggered by the suspension of physical
gravity .
•An agile spatial structure of two layers, is the main support of the double jacket which are smoothly curved
along the top and bottom of the outer casing, the structural frame and concealing emphasizing the surface
rather structure , as if the building was all effect and not cause.
Represents a fluid form that
emerges by the folding of the
natural topography of the landscape
and the wrapping of
individual functions within.
All features, together with the
inputs are represented by
folds in one continuous outer
surface.
Fluidly connecting the various
cultural spaces and at the
same time, provide each member of
Following the inner folds, skin erodes to become an element of the the Centre its own
interior landscape of the Centre. identity and privacy.
The shapes of the 57,519 m2 cultural center show the lightness of a scarf
billowing in freefall.
The center is designed to become the main building of cultural programs.
SPACES –
Baku complex actually consists of three buildings, a conference center with auditorium and
halls, a museum and a library, connected via an interior space and the curve and "fluid" outer skin
that winds throughout the structure.
The complex also houses a restaurant and a parking.
Exterior access

visitors find the building

through a long and steep park
with a zigzag path,
leading to a square paved with
squares of white concrete,
The landscape emerges from
the ground to blend with the
building. This area called
Cultural Plaza.
In response to plummeting to
the ground above topographically
divided into two, the project has a
terraced landscape that provides This solution avoids additional excavation and fill and
alternative routes and connections successfully converts an initial disadvantage of place in a
between the public square, key design feature.
construction, and underground
parking.
Cultural Plaza
The design of the Heydar Aliyev Center provides a continuous and fluid relationship between
the surrounding square and inside the building.
The plaza, accessible to the public as part of the urban fabric of Baku rises to wrap an equally
public interior space and define a sequence of event spaces dedicated to collective celebration of
both contemporary and traditional Azeri culture.
Extrapolated the fluid forms the center environment creating a series of terraces interlaced with
mirrors, waterfalls, ripples, bifurcations, folds and flexures that turn the surface of the square in
an architectural landscape that fulfills many functions, welcoming and directing visitors through
different levels to the inside.
With this gesture, the building blurs the conventional distinction between object and
architectural cityscape, building envelope and urban square, figure and ground, inside and
outside.
A cut of the barrel at the front of the housing carries the glass doors that open to a corridor of
whiteness.
INTERIORS –

The inside center is characterized by continuous surfaces that twist

to transform the ceiling walls and ramps.
The ground floor has several spaces lobbying aimed at creating
public places that unite the different aspects
of the program of the center.
From these rooms welcome inside the building continues the theme
of the merger, with continuous surfaces.
Soils become ramps and walls, turning on ceilings, then keep
turning and moving out of sight, forming endless white landscapes.
 LIBRARY
The Library is oriented north to take advantage of
natural light and has its own entrance.
Levels dedicated to reading and file are stacked one
above the other, wrapped in the folds of the outer skin.
Plants tumble over one another with ramps which
connect, creating a continuous circulation path.
The Library and Museum are also connected by a
ramp that leads through the ground floor of the
Library, to the first floor of the Museum.
The Library is connected to the conference room
through a bridge that 'fly' over the entrance hall.
Its shape reaches the Cultural Plaza, leaning to
create the necessary slope leading to the seats of
outdoor space.
AUDITORIUM
The auditorium and its associated
facilities have direct access to the Plaza.
The main entrance is on the void
created in the outer layer, "stretching"
of the volume of the museum and
the library tower.
The secondary entrance is on the
north side of the building.
STRUCTURE –

The building consists of two main systems

that collaborate: concrete structure combined
with a system of spatial structure.
large-scale columns allow visitors to
experience the fluidity of the interior, vertical
structural elements are absorbed by the walls
and curtain wall system.
The special geometry of surfaces promotes
unconventional structural solutions, such as
the introduction of curves "Boot columns" for
reverse shell from the ground surface to the
west of the building, and the "duck tail"
resulting from the narrowing of the cantilever
beams that support the skin
of the building on the east side.
 The space frame system allows the construction
of a free form structure and saves time during the
construction process, while the substructure has
been developed to incorporate a flexible
connection between rigid grid of the spatial
structure and sheathing seams freely.
These seams were obtained from a process of
rationalization of the complex geometry, use, and
aesthetics of the project.

The glass fiber reinforced

concrete and fiberglass
reinforced polyester were
chosen as materials ideal
coating, allowing the powerful
plasticity building design while
responding to very different
functional requirements related
to a variety of situations:
square, transition zones and
sheath.
Materials

The building, whose distorted grid panels soft polyester reinforced fiberglass has no visible
connections, is less "as built" and more like "if landed".
The construction has been used 121,000 m3 of reinforced concrete, 194,000tn formwork and
19.000tn mold steel.
To shape the outer skin 5,500 tons of structural steel were needed, creating the 40,000 m2 basis
area for panels made from fiberglass reinforced polyester or with concrete, a total of almost
17,000 individual panels with different geometries.

Lighting

To emphasize the ongoing relationship between the exterior and interior of the building,
lighting Heydar Ali Center has been carefully considered.
During the day the volume reflects light, constantly changing its appearance depending on the
time and perspective.
The use of semi- reflective glass hints at undisclosed inside space trajectory .
At night, the building is gradually transformed by the light that flows from within, the formal
composition to reveal its contents and continue to maintain the fluidity
between interior and exterior develops.
ELEVATION
SECTION
SECTION
SECTION
SECTION
SANTIAGO CALATRAVA VALLS
Santiago Calatrava Valls is a Spanish Swiss architect, structural
engineer, sculptor and painter, particularly known for his bridges
supported by single leaning pylons, and his railway stations, stadiums,
and museums, whose sculptural forms often resemble living
organisms.
MILWAUKEE ART MUSEUM
ARCHITECT: EERO SAARINEN, SANTIAGO CALATRAVA, DAVID KAHLER, JAMES SHIELDS
YEAR: 1955 - 1957
LOCATION: MILWAUKEE, WISCONSIN, UNITED STATES
The Milwaukee Museum of Art is the largest art museum
in the state of Wisconsin, housing a collection of more than
30,000 works and an impressive collection of renowned
international exhibitions. In 1980 the Milwaukee Art
Center changed its name to the Milwaukee Art Museum, in
1983, it was accredited by the American Museum
Association.
The Milwaukee Art Museum
• Began with Layton Art Gallery (1888) and Milwaukee
Art Institute (1918)
• Joined to form Milwaukee Art Center in 1957 and moved
into new EeroSaarinen-designed building on Milwaukee
waterfront.
Museum collection continued to expand throughout the 1980s and ’90s
• Attendance increased dramatically, approaching 200,000 annual visitors
• Both factors prompted consideration of an expansion
• Looking for a strong architectural statement, museum officials turned
to architect and engineer Santiago Calatrava in 1994
• Calatrava’s design was unveiled in March 1996, receiving an
enthusiastic response from the community
• The Quadracci Pavilion was completed in October 2001, becoming
the first building constructed by Calatrava in the United States.
Calatrava’s designs are often inspired by nature, and present a combination of organic forms and
technological innovation. The expansion of the Milwaukee Art Museum incorporates multiple elements
inspired by its lakefront location.

Among the many maritime elements in the design are: mobile steel blinds inspired by the wings of a bird, a
wired pedestrian bridge with a raised mast inspired by the shape of a sailboat and a curved gallery of a single
floor reminiscent of a wave.
The expansion of the Museum was made possible by the generosity of the donors, with significant funds
provided primarily by Betty and Harry Quadracci in whose honor the new building was named.

The three-level building is a cruciform form of concrete, steel

and glass floating on a pedestal that includes three main
components:

The first is the base that rises to the city level and contains an
art museum.

The second, at the city level, is the memorial courtyard,

surrounded by polyhedron-shaped pillars, which support the
building and also create frames for the stunning views of the
lake and the sky.

The third part is the superstructure, with a cantilever of 9.14m

in three directions, which contains the meeting rooms and
offices of veterans’ organizations.
THE QUADRACCI PAVILION Architect Santiago
The City of Milwaukee was looking Calatrava’s response was
for a “strong architectural statement to design a “glowing
in an exciting yet functional ‘lantern’ on the
building” that would “set an downtown lakefront,
architectural standard for the next radiating light in all
millennium” directions”

• The design features a

large pavilion
containing a glass-
enclosed reception hall
with a transparent, boat-
like prow facing the
lake, as well as
a huge, operable wing-
like Brise-Soleil
sunscreen.
The Museum with 31,680 m2 Quadracci Pavilion (2001)
includes the War Memorial Center created by the Spanish
(1957) designed by the Finnish- architect Santiago Calatrava.
American architect Eero Saarinen, In 2015, a new extension
the Kahler Building (1975) by Milwaukee architect Jame
by David Kahler. s Shields was inaugurated.
 PLANS

MAIN LEVEL
PARKING LEVEL

LOWER LEVEL

BRIDGE/MEZZANINE
LEVEL

The five-level Milwaukee Art

Museum, including the four-level
Calatrava addition,The Quadracci
UPPER LEVEL Pavilion is shown intersecting the
main building at the south end.
NORTH - SOUTH SECTION

EAST – WEST SECTION

MAIN LEVEL PLAN Structural Features:

Finite Element Model

• The complexity of the
Quadracci Pavilion required that
the mat foundation slab,
pavilion, A-frames, ring beams,
and Burke Brise-Soleil be
designed through a detailed
finite element model analysis.

Building Section
• A quick study of a partial building section reveals the clever
arrangement of pinned concrete arch elements which transfers
structural loads to the foundation wall and center beam.
• The mildly-reinforced concrete pavilion
supports the back stay beam and east pier of the
pedestrian bridge, as well as the A-frames and
building spine that in turn support the moveable
Burke Bruise-Soleil.

STRUCTURAL FEATURES: PAVILION

The cable-stayed bridge pylon and the Quadracci Pavilion’s building spine are aligned on the
same axis and are inclined 48.36 degrees toward the Pavilion.
STRUCTURAL FEATURES: BURKE BRISE-SOLEIL
The signature element of the Calatrava addition is composed of two large operable wings, each
made up of 36 interconnected fins, spanning almost 220 feet.

11 pairs of actuators operate simultaneously to open or close the wings in unison by turning two
rotating spines up to 90 degrees.
STRUCTURAL FEATURES: PEDESTRIAN BRIDGE

• A cable-stayed pedestrian bridge featuring a

steeply-raked pylon and ‘boomerang’
abutment spans 230 feet across a major
thoroughfare, connecting Milwaukee’s
downtown with the waterfront.

• The 192-foot-long pylon supports the 10

major spans of the bridge through 9 locked-
coil cables and 18 back stay cables.
The main section of the bridge is a five-sided
closed steel cell with a stressed-skin structure,
measuring 0.6 m deep and 5 m wide with a 0.6-
m-high parapet.

The cell has no internal beams or girders and

acts as a tubular member resisting live, dead and
wind loading.

The stressing allows for more transverse load

with less deflection. The “boomerang” bridge
abutment is formed from welded plate steel plate
and is anchored at the top to the west end of the
pavilion ring beam and supports the pylon base.
The brise soleil is made up of 72 steel fins, ranging in length from 26 to 105 feet. It takes 3.5 minutes for the
wings to open or close. Sensors on the fins continually monitor wind speed and direction; whenever winds
exceed 23 mph for more than three seconds, the wings automatically close .
PETER EISENMAN
Peter Eisenman is an American architect. Considered one of the
New York Five, Eisenman is known for his writing and speaking
about architecture as well as his designs, which have been called
high modernist or deconstructive.
STATE FARM STADIUM
State Farm Stadium, formerly known as University of Phoenix Stadium, is a 68,000-seat National Football
League stadium for the Arizona Cardinals, which expands to accommodate 73,000 spectators for the Super
Bowl and other extravaganzas.

By integrating the stadium with the facilities required for a convention center, this multipurpose venue is
equally effective for hosting exhibitions and sporting events.

In addition to providing innovative suites and concourse accommodations, the stadium features a retractable
roof and a movable field of natural grass that is rolled into the arena on game days.

Location: Glendale, Arizona

Year: 1997-2006
Concept

University of Phoenix Stadium was designed to be a truly

multi-purpose facility with the ability to host football,
basketball, soccer, concerts, consumer shows,
motorsports, rodeos and corporate events.
The outside shape of the stadium represents a barrel cactus,
a very typical plant from the desert where it’s located. That’s
the way the architect found to relate such a huge building
with such a characteristic environment as the desert of
Arizona can be.
The building features alternating sections of shimmering
metal panels intended to reflect the shifting desert light
alongside magnificent vertical glass slots allowing patrons a
spectacular view of the horizon from any level of the
exterior. There are 21 vertical slots on the exterior wall of
the stadium.
University of Phoenix Stadium was the first in North The roll-out natural grass playing field weighs nearly
America with both a retractable roof and retractable 20 million pounds and travels a distance of 740 feet
field. in less than an hour.

The stadium is clad in

alternating sections of metal
panels and recessed vertical
glass bands that allow views
out from the circulation
concourse. The shiny, metallic
panels will reflect shifting
desert light patterns to mimic
the ever-changing colors of the
Arizona sky, as well as throw
off the desert heat. The The field allows football to be played on natural grass indoors – a
translucent fabric roof admits feature that has to be given special consideration in the desert climate. It
daylight and creates the feeling remains outside the stadium in the sun until game day, getting the
of being outdoors, yet protects maximum amount of sunshine and nourishment, while eliminating
spectators and players from the humidity problems inside the stadium and providing unrestricted access to
direct heat of the sun. the stadium floor for events and staging.
The 25 acres (100,000 m2) surrounding the stadium is called Sportsman’s Park. Included within
the Park is an 8-acre (32,000 m2) landscaped tailgating area called the Great Lawn.

Two 700-foot long

trusses provide
primary support to the
retractable panels and
are the dominant
visual element. The
exterior of the stadium
is comprised of metal
panel and glass in a
form resembling both
a barrel cactus and a
coiled snake – two
shapes very true to the
stadium’s desert
surroundings.
Spaces

•Approximately 63,400 permanent seats, expandable to 72,200 seats

•88 luxury lofts (Three party lofts), approximately 7,400 Club Seats, Two (2) 39,000 square foot
Club Lounges
•160,000 square feet of contiguous exhibit space, 20,000 square feet of meeting room space
•2 high resolution video scoreboards
•77 Public Restrooms (30 Men’s, 35 Women’s and 12 Family)
•47 Concession stands operated by Centerplate
•10 Number of elevators for public use in stadium
•18 Number of escalators for public use in stadium

The stadium seating capacity can be expanded by 9,600 for “mega-events” such as college bowls,
NFL Super Bowls, etc. by adding risers and ganged, portable “X-frame” folding seats. The
endzone area on the side of the facility where the mobile turf moves in and out of the facility can
be expanded to accommodate the additional ticketholders.

There are no obstructed view seats in the stadium. There are visible areas in the upper deck of the
end zone where seats could have been put in but were not due to the giant super columns
supporting the roof structure.
PLANS

SECTION
VIEWS
&
MODEL
Structure & Materials

A concrete structure was used to hold the retractable roof. Super columns were preferred instead
of regular columns in order to minimize the zones where the structure would obstruct the direct
view of the field.
The roof is made out of translucent “Bird-Air” fabric and opens in twelve minutes. It is the first
retractable roof ever built on an incline.

The design, functionality and overall wow factor of

University of Phoenix Stadium kicked off a movement of
21st century sports facility design.
DANIEL LIBESKIND

Daniel Libeskind is a Polish-American architect, artist, professor and

set designer. Libeskind founded Studio Daniel Libeskind in 1989
DANIEL LIBESKIND
with his wife, Nina, and is its principal design architect. He is known
for the design and completion of the Jewish Museum in Berlin,
Germany, that opened in 2001.
 DANIEL LIBESKIND
Daniel Libeskind (born May 12, 1946) is a Polish-American
architect, artist, professor and set designer of Polish Jewish descent.
LIBESKIND HAS BEEN CALLED THE
"WORLD'S MOST RADICAL WORKING ARCHITECT“
An international figure in architecture and urban design, Daniel Libeskind is renowned
for his ability to evoke cultural memory in buildings. Informed by a deep commitment
to music, philosophy, literature, and poetry, Mr. Libeskind aims to create architecture
that is resonant, unique and sustainable.

His designs are out of the ordinary and very different and some architects don't have
that quality.
He incorporates

 overhangs,
 diagonals, and
 other "indescribable" shapes in his
architecture.

he highly favored CUBISM. And cubism is

very evident in the Spiral Extension. Libeskind
shows what he learned in his early life in his
architecture. He really stays true to his
origins.
Libeskind has a signature design, it is the curved lines of his
buildings that allows light to bounce off their edges so they
appear to almost dance in a skyline. And each design is driven
by his mantra, “every building deserves a cultural approach”.

Libeskind’s
egalitarian
principles had a
big influence on
his design
“My idea was
always very
simple: make it as
public as you
can.

Music is an integral part of what Libeskind

calls his “para-architectural” methods. “A lot
of people think of architecture in a physical
context like physics, but the context is far
richer,” he says. “It’s about memory,
tradition, things that you cannot see or hear
but are there. I always try not to be seduced
by the physics of the site. It’s a portal to the
past.”
JEWISH MUSEUM,BERLIN
Daniel Libeskind communicates the
displacement and disassociation of the
Jewish people in Germany through his
use of metaphor, fragmentation, void,
and disorientation.
BACKGROUND
Daniel Libeskind is a Polish-American
architect who has been practicing
since completing his education in the
1970s. His works are most concentrated
in Europe and more recently the United
States, and many are related to Jewish
culture and history(“Daniel Libeskind”
2014).
PHILOSOPHY
Libeskind believes in architecture as a form of communication:
“For me, a building is a medium to tell a story. It’s not only about itself”
(Quoted in Libeskind & Goldberger, 2008).

As a deconstructivist, Libeskind often uses explicit metaphors of fragmentation in

his works, especially in regards to historical events like wars and the Holocaust.
CONCEPT
The building’s overall composition is that of a distorted Star of David, with a straight
“void” running through the length of the building. Heavy with symbolism and
metaphor,the building uses fragmentation, void, and disorientation to reflect the
three aforementioned aspects of Jewish history.

EXTERIOR

Libeskind states, “One is a straight line,

but broken into many fragments, the
other is a tortuous line, but continuing
indefinitely”

The theme can also be seen

in the lack of right angles or
symmetry in almost any part
of the building.
While the voids of the interior cannot be seen as clearly from the exterior, the fragmented
form still creates voids within its own form.

The theme of disorientation is

also less clear at the exterior
level, but the general lack of
hierarchical structures or a
clear path to or from the
addition adds to the theme.

INTERIOR

The main metaphor of the interior of the museum is the void metaphor.Daniel Libeskind
states that the straight line void cutting through the museum “is the space of Berlin,
because it refers to that which can never be exhibited when it comes to Jewish Berlin
History”
The other main
metaphor of the
building’s interior is the
split entry route, where
visitors are faced with
choices mirroring the
choices of Jews
during the Holocaust.
GARDEN OF EXILE
The garden, which visitors move through as they exit the
museum,
“Represents an attempt to completely disorient the visitor. It
represents a shipwreck of history”

Additionally, the vegetation is placed on top of

the structural elements, leaving the earth “remote
inside concrete columns, roots above, hard
ground below, and vegetation intertwined above
– out of reach". This will also serve to disorient a
visitor, whose usual conception of a garden
features plants rooted in the ground.
*Holocaust:
1.destruction or slaughter on a mass scale, especially caused by fire or nuclear war.
"a nuclear holocaust"
2.historical
a Jewish sacrificial offering which was burnt completely on an altar.
SUMMARY

Daniel Libeskind uses metaphor, fragmentation, void, and disorientation in ways

described in the table below to communicate the suffering of the Jewish people
in and out of Berlin.
Daniel Libeskind’s addition to the Jewish Museum,
Berlin utilizes
Symbolism and metaphor
Including fragmentation,
Void, and disorientation,

In order to create a more substantial museum

experience for the visitor. Rather than presenting
information as museums often do,

Libeskind’s Jewish Museum Berlin uses these effects

to communicate the aspects of Jewish history,
especially the Holocaust, which cannot be expressed
in only words.
PETER ZUMTHOR
Philip Cortelyou Johnson was an American architect. He is best
known for his works of Modern architecture, including the Glass
House in New Canaan, Connecticut, and his works of
postmodern architecture, particularly 550 Madison Avenue
which was designed for AT&T, and 190 South La Salle Street in
Chicago.
Structures: 7132 Hotel, Kunsthaus Bregenz, Bruder-Klaus-
Feldkapelle, Kolumba
Awards: Pritzker Architecture Prize
Born
1943 Basel, Switzerland
Education
1958 Apprenticeship in cabinetmaking.
1966 Pratt Institute, New
York, USA, visiting student in
architecture and design.
•He is a Swiss architect and winner of the 2009 Pritzker Prize.
•His father was a cabinet-maker and he was also apprenticed to a cabinetmaker in
1958.

•In 1966, Zumthor studied industrial design and architecture 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.

• His buildings explore the tactile and sensory qualities of spaces and materials
while retaining a minimalist feel.
•Zumthor founded his own firm in 1979.
•The attention Zumther pays to materials and to their visual, tactile and even factory
attributes.
•He applies materials with the sophisticated precision and he pursues the skills and
techniques of construction.
•Each of Zumthor’s works always responds to extraordinary architectural demands.
BROTHER KLAUS FIELD CHAPEL
EIFEL, GERMANY

•The field chapel dedicated to Swiss Saint Nicholas von der

Flüe known as Brother
•Klaus, was commissioned by farmer Hermann-Josef and
constructed with help of his farmer friends
•Zumthor used a technique called “rammed concrete” where
farmers poured a layer of concrete over a tepee of timber.
•In its irregular five-sided form, rising starkly above the surrounding landscape, there
are virtually no clues to what lies within.
•A narrow gravel path leads from the road directly to its massive, triangular steel door.
•The tower rises 12 meters in 24 layers of concrete each of 50 cm. thick.
•The interior of the chapel had to be shaped
for that, 112 slender tree
•Trunks, cut from trees felled in a nearby
forest, were arranged in the shape of a tepee
over a concrete platform.
•And after that 50cm layers of concrete, each
layer poured one per day for 24 days

Sections showing 24 concrete layers.

People think that the most appropriate building
is a rectangle, because that’s typically the best
way of using space.
But is that to that landscape is a waste of space?
The world is not a rectangle”

- Zaha Hadid

Ar.MANJARI.K,M.ARCH
Assistant Professor,
SAID,SRMIST