Module 1 (Unlocked by WWW - Freemypdf.com)

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HOA 4 201 6 IESCA
ALVAR ALTO
-
o Hugo Alvar Henrik Aalto
o born on 3 February 1 91 0
o Finnish architect-
designer ,sculptor ,and painter
o Works include: architecture,
furniture ,textile and glassware
o Career span 1 920s to 1 970s
o Style of works-
o Nordic Classicism(early work), International
Style-Modernism( 1 930s),more organic
modernist style( 1 940s),Scandinavian
Modern(furniture design)
Workers Club, Finland
-
This is a typica l example of Alvar Aalto's early
work in his home town in which he first
practiced: a working -men's club, built in 1925.
ARCHITECTURAL SYLE: Nordic Classical
FEATURES:
Discontinuous glazing on all four sides at

entrance level.
This building houses a restaurant and a coffee

bar which supports the auditorium above - -
He employs various classical devices:
1. Circular atrium
2. Doric columns
3. Pa lladian window
•· Cartouches to decorate the stuccoes wall

- Workers Club is a two-storey building situated on the corner of two streets in the
centre of the town, and with a cafe and restaurant on the ground floor.
From the street level one enters an impressive entrance hall that leads upstairs to
the auditorium floor comprising a theatre space and foyer.
In the basement floor spaces were reserved for, among other things, a kitchen,
storage and washing and toilet facilities.
- Entering the building
through the big and
heavy iron doors the t!*iii
visitor first enter a
lobby with a cloak
room.
The auditorium, that

the stairs lead to,
accommodates up to
400 people. .........
•The interior shows a lot of Aalto typical elements but has also a slight oriental
touch(Asian)
• Aalto also designed the lamps for the building as well as the decorative paintings and
part of the furniture
•
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GROUND FLOOR PLAN
FIRST FLOOR PLAN

• D
View from balcony

. m
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SECOND FLOOR PLAN'--+
• •
SECTION AA
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- BUILDING FACADE
• Implied Symmetry on the
longer elevation but its
symmetrical on the short er
sid es. Ull.llUI m
• The elements of the
building are either squares
or multiple of squares.
• The Palladian window is
symmetrically placed
relative t o the audito rium. Iii ID .. •
• Vernacular timber
detailing for the stairs
Villa Mairea
-
ARCHITECTURAL SYLE: Modernism
FEATURES:
EXTERIOR
• The courtyard of the villa was inspired by the~
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organization of vernacular farmstead.
• The massing was inspired by the fa llin
waters by Frank Lloyd Wright.
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···----.~----~ First lloor plan

Ground floor plan
A- Dining room
I I I . 8 - Sauna
C - living room
0- Library
I . I I ...... E - Studio
F • Staff
-1 i G - Kitchen
H - Restroom
r 11 I I - children play area
J - Guest wing
. ' I . K - Children· s room
L - M aster bedroom
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• The interi ors follow the grid of
•
I 2850 x 2850 m
.....,.. ...,. ..
• Teak clad living room projects forward
to create shallow balconies that lead
on to the principle bedroom
• Bedroom windows project out

at an angle to address the
line of approach to the house
through the forest.
• The main entrance to the -
the door is approached under
a two level canopy supported
- - by compound timber column
and screened by miniature
forest of poles.
Main staircase inspired by Japanese
bamboo screens.
Sculpturally elaborate fireplace

forms a strong visual and
symbolic focus.
Rattan - wrapped columns

continue to evoke the Finnish
forest.
Screening by vertical poles help to
differentiate the interlinked spaces.
To enter this inner sanctum, columns are

made to resemble tree trunks, located at
certain points to create the impression
similar to that of emerging through the
fringes of a forest clearing.
-
EERO SARINEN
- • Eero Saarinen was born in
191 O,in Finland.
• Eero Saarinen was an American

architect and product designer,
20th century.
• He was famous for his varying

style according to demand of
the project simple, sweeping,
arching structural curves.
Dullies Airport
- • The first commercial airport ever to be
conceived from the point of view of jet
•LOCATIO N . CHANTILLY, VARG INlA
•DATE • 1958-1 96 2
·BUILDING TYPE - AIRLINE TERMINAL
· CON STRUCTION SYSTEM . CO NCRETE
aircraft operation- Eero Saarinen's · STYLE - MODERN
·AREA • 1 1,000 ACRE
greatest achievement as a designer.
• The two principal elements of the
airport are the 150 feet span
suspension roof over the centralized
airport facilities, and the revolutionary
mobile_lounges to transport passengers
to and from aircraft parked at
strategic points on the apron-
avoidance of miles of pedestrian
corridor leading from the terminal to
the aircraft.
Features
- • An underground tunnel consisting of a
passenger walkway and moving
sidewalks
• The terminal ceiling is suspended in an

elegant curve above the luggage check-
in area .
• There are two sets of gates
in the main terminal
• The main terminal is a very

well regarded build ing; its
roof is a suspended catenary
providing a wide enclosed CURVED ROOF
SUPPORTED UPON
area unimpeded by columns. COLUMN
Plan
-
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CU LL E S. - IN1ERNATIONAL
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St.Louis Gateway Arch
-
• Gateway arch is the 2 nd tallest
•LOCATION • ST. LOUIS MISSOURI
•CONSTRUCTION • 1961 - 1966
•BUILDING TYPE - MEMORIAL ARCH OBSERVATION
TOWER
monument in he world. •CONSTRUCTION SYSYTEM -STAINLESS STEEL
•STYLE • STRUCTURAL EXPRESSIONIST MODERN
• The arch is located at the banks of
Mississippi river.
• It stands 630 feet (192 m) tall, and is
630 feet ( 1 92 m) at its widest point.
• The cross-sections of its legs are
equilateral triangles, narrowing from
54 feet 1 6.5 m per side at the base
to 17 feet (5.2 m) at the top.
St.Louis Gateway Arch
- The interior of the arch is hollow and
contains a unique transport system
Leading to an observation deck at the
top.
The interior of the arch also contains

two emergency stairwells of l 076 steps
Each, in the event of a need to

evacuate the arch or if a problem
develops with
The tram system

.... '
.Underneath the arch is a visitor center,
entered from a descending outdoor
Ramp starting at either base.

FIGURES SHOWING TRANSPORTATION SYSTEM
Inside the Arch
- Entrance to the arch is from the
underground
Platform at the top of the arch reached

by unique conveyance system • a 40-
passenger train made up of eight five-
passenger capsules in each leg-Tram
The observation platform is 65 feet by 7
feet, with plate-glass windows
• There is also a conventional maintenance
elevator in each leg as far as the 372 -
foot level,
and stairways with 1,076 steps in each

leg rise from the base to the top of the
arch.
The elevators and stairways are for

maintenance and emergency use only.
The Gateway Arch
-
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BASE OFARCH
FIGURES SHOWING CONSTRUCTION OF

GATEWAY ARCH
MINORU YAMASAKI
-
· American architect (1912-86).
· his buildings are works of art, sensitive
to form, materials, and human needs.
· considered to be the two master
practitioners of " New Formalism ".
· In a t ime when many modern buildings

were designed as plain, even sterile-
looking, products of the industria l age,
Yamasaki steadfastly designed
buildings with ornament, with sculptural
forms particularly in the details, and
with gaiety or serenity as the occasion
demanded.
World Trade Centre
-
A New York City icon that once rivalled
structures such as the Statue of Liberty
and the Empire State Building, the World
Trade Centre, colloquially known as the
Twin Towers, was one of the most
recognized structures in history.
Designed by Japanese American architect

Minoru Yamasaki, it held the title of Tallest
Building in the World from l 972-1974.
Up until it's unfortunate demise, the WTC site

was a major destination, accommodating
500000 working people and 80000
visitors on a typical weekday.
-
o The World Trade Centre was intended to promote international trade and
catalyze economic prosperity in the New York and New Jersey metropolitan
reg ton.
o The project also includes several other lower buildings around the perimeter of
the block, sheltering the plaza from traffic.
o A transportation and shopping concourse located under the plaza provided

sheltered circulation between the WTC buildings, the subway stations, and PATH,
an underground pedestrian network that connected to Wall Street.
o Utilizing an innovative method called a Slurry Wall; the excavation perimeter was
encased with water proof, reinforced concrete walls that would prevent leakage
and potential collapse.
o A 5 acre plaza surrounded the Twin Towers and featured a paved garden, rings
of benches, and a l 30 foot diameter circle of flower boxes. Also present were
striking sculptures by artists Fritz Koenig.
World Trade Centre
- The two l l O story skyscrapers primarily
housed open office space, but also
included an underground parking lot for
2000 cars, a tall lobby, and an
observation deck.
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The towers shared a simple plan: a 208
foot by 208 foot square with slightly
-
chamfered corners surrounded an 87
foot by l 35 foot core that was
comprised of 47 steel columns.
The core contained all of the building
services including elevators, stairs,
washrooms, and mechanical shafts.
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World Trade Centre
-
o Constructed as a tube structure, the ext erior
walls of the t owers utilized vierendeel
trusses . (a stru<tvre where the memb ers ore not rria nguloted bvt form
recton9ular openings, a nd is a frame with fixed ioints that are capab le of
transferring and resisring bending moments.)
o Yamasa ki used narrow windows.
o The exterior columns we re extruded l 2

inches beyond the glazing, shading much of
the windows, and reducing ene rgy
consumption.
o Towards the base of the buildings, each

group of three columns me rged int o one
creating wider glazing for the lobby.
o Aluminum alloy was used in the fa~ade of

the Twin Towe rs .
Torre Picasso
-
o Also known as Picasso tower is a skyscraper
in Madrid, Spain
o The tower is named after Pablo Picasso, the
most famous Spanish artist of the 20th
century, who invented the Cubism.
o The Torre Picasso was ta llest building until
200 1.
o Skyscraper that stand 43 floors above the
ground, l 57 meters, or 51 5 feet high.
o It has 71,700 square meters of office
space, a parking capacity for 837 vehicles.
o At night the building is totally illuminated
with white lights becoming the most
noticeable landmark in Madrid's skyline.
The Structure
-
o The design is a simple, though elegant,
square box design rising high into the Madrid
skyl ine.
o includes several other office buildings and a
shopping center.
o The structure is has a rectangular footprint

with a windowless two -storey base.
o A wide round arch, resting on an

underground steel structure for support,
serves as the entrance and supports the
fa~ade above.
o The glass used in the entrance is a special

security glass ca lled STADIP.( con1o;n, o ,ped al oco..stk
interlayer which not only bonds the gloss but olso och os o d amp ening core
between the gloss panes, preventing sound frequencies vibrating from one
pone of gloss to rhe other.)
The Structure
-
o The facade consists of 29,000 square
meters of aluminum and glass.
o Windows on floors 3 through 43 are

grouped in twos divided by a slender pier.
o The groupings are divided by larger piers

into l 5 bays across the front of the building
and l l bays on the sides.
o The fa~ade is covered in white aluminium

and the corners of the structure are
chamfered. SPATIAL PLANNING
043 floors
o The top two floors are also windowless and 05 basement floors
the parapet flares to form a corn ice. D {first level is a commercial area1 others
ore parking}
o Elevators, in three groupings, occupy a bay OGround floor houses the lobby
042 floors house offices
in the rear of the structure along with
D4 4th floor contains mecha nical e quipment
stairways. 0 45 th floor contains the heliport
-
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• Floor 19 10 32 Floor 33 10 43
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Floor 2 to 18
TYPICAL FLOOR PLAN AND
I 1 • ~ • ~ • STRUCTURE
KENZO TANGE
-
o Kenzo Tange (4 Septembe r 1913 - 22 March
2005) was a Japanese archit ect
o He was one o f the most signi ficant archit ects o f the
20t h cent ury, combining trad itional Japanese styles
w ith modernism, and d e signe d major buildings on
f ive continents.
o Tange was also an influential patron o f

t he M etabolist Movement
METABOLIST MOVEMENT was a post-war Japanese architectural movement that fused ideas
about architectural mega structures w ith those of organic biological growth.
Metabolically designed architecture is built around a spine-like infrastructure with

prefabricated, replaceable cell -like parts easily attached. These 1960s avant-garde ideas
became known as Metabolism.
Metaboli st architects and designers beli eved that cities and b uil dings are not static entities, but
are ever-changing-organic with a "metabolism."
YOYOGI NATIONAL GYMNASIUM, TOKYO
-
· The Yoyogi National G ymna sium in
Tokyo, built for the Olympics in 1964
· When it was completed, the National
Gymnasium had the world's largest
suspended roof
· The complex consists of 2 build ings,

· built using high technology in a country
constantly shaken by strong winds and
earthquakes.
· Tange used exposed concrete, metal and

steel, favorite materials the Brutalism of the
mid -60's, and exploited the versati lity of
these to achieve dynamic and sculptural
forms.
-
The Gymnasium
- o The roofs of the two gyms use a
contemporary language and a similar
structural logic: they are suspended by two •
large steel cables.
o Both axes are arranged in an east-west,
which is also the predominant direction of
plot.
THE MAIN GYM
· the main gym has a capacity for l 0,000
people
· The space is organized symmetrically,
· distributing the stands to the north and south,
· emphasizing the east-west direction in both
the roof and the location of the entrances.
- THE STRUCTURE . -""'
o The structural concept is based on a main spine that consists of two
steel cables 1 3 " in diameter, anchored to two large slabs of concrete
on either end of the building and to two structural towers.
o Cables describe a parabolic curve from which smaller wires are

placed perpendicularly, to form a tent-like roof.
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The Facade
-
· the gap between the two curves is taken to
propose an imposing triangular access, which,
despite having a monumental scale, seem to
be born of the earth, giving the building a
feeling of lightness.
· detail that provides visual lightness to the
structure is the cantilevers containing. These
stands also accommodate the rhythmically
arranged openings.
•The rhythm is a lso app lied at the

entrances, where the V-shaped
metal structure of different size is
displayed in a dynamic way.
The Minor Gym
- It has a capacity for 5,300 spectators and is used
for minor sports.
The space is organized around two non-concentric

circles, and therefore some stands are larger than
the opposite.
Unlike the main gym, this has only one structural

column and one single entry.
•A small square precedes the gym, landscaped with

a small Japanese-style pond.
•As in the other gym, the roof also seems to be
rising from the park.
•For the smaller gym, the same principle was used,
only instead of using two concrete slabs, Tange
used a single, like a gigantic mast.
Saint Mary's Cathedral , Tokyo
- Founded in l 899 as a chape l for French students of the Seminary of Missionaries
Until 1945, when it was destroyed by an air raid during Wor ld War II, Saint Mary's
Cathedral Tokyo was the cathedra l of Gothic style and wood.
In 1960 the architect Kenzo Tonge w on the tender for reconstruction work began in
196 1
Taisei Construction Co. a long with and support of Tonge Associates in 2007 began
the restoration of a ll parties, mainly the roof that offered a further deterioration.
•the orig inal stainless st eel cladd ing was
replaced by othe rs assembled with a special
t echnique that does not allow any seepage afte r
wate rproofing
•The skylight of the roof was also replaced by an

aluminum frame and t empered glass, creating a
more a f fordable so that engineers can pe rform
the necessary inspections.
Spatial Arrangement
-
Ba sement
In the basement of l 005.5 square meters, there is a
small chapel that can accommodate 200 seated
and l 00 standing, in addition to numerous services
relating to the activities of the temple.
Ground floor: 254 1.4 meter square, the Cathedral
has a capacity for 600 people seated and 2000
standing.
Access:Two high concrete walls that frame the four
large windows indicate the main entrance is
located has a large wooden door.
Altar:At the high sanctuary is the altar, the music and
the venue for the priest, this area is accessed by a
small flight of stairs.
On the back it features a cross, The Holly Cross, which
stands behind a marble plaque of 17 meters and
illuminated by soft light that enters the cathedral.
Spatial Arrangement
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2nd Floor and 3rd Floor:71 and 32 square meters
Body:Above the main entrance displays a balcony
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that has been assigned to the location of the

body.
The Bell Tower:Like many European cathedrals, the
bell tower of the cathedral is not in the same
temple, but a few meters away. It is 60 meters
high and its walls of concrete also apparent and
aesthetically integrated with the whole complex,
housing four bells were brought from West
Germany.
At first glance the four sides of the bell seemed
flat, but in reality are hyperbolic and its fou r
corners amount as a single straight line.
Baptistery:Located in the crypt of the church, to the
right of the entrance.
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MARCEL BREUER
-
o Marcel Lajo s Breuer was a Hungarian-
born modernist, architect and furniture
designer.
o Certain elements of Breuer's design
vocabulary - such as the cantilever or the
horizontal rectangl e -are recurring motifs in
his furniture, interiors, and buildings.
o Throughout his career, Breuer retained his

curiosity about modern materials and
continued to apply them in inventive ways.
o His interest in construction and materials, and

their inherent expressive potential, is the
primary link between the different facets of
his career and is the foundation of his unique
legacy
The Ariston Hotel
-
o Located in the La Serena neighborhood of
Mar del Plata, Argentina
I
o Originally meant for housing social reunions,

dances and cocktail parties,
o this project is notable for its elevated volume
with a curving, clover-inspired form that
permits maximum glazing.
o The Ariston Hotel is an icon of modern

architecture in Argentina, distinguishing itself
with its curved forms that allow for constant
visual contact with the diverse landscape of
dunes and sea.
Concept
-
o The concept of the geometry of the clover,
was accomplished by overlapping panels
•
along the form of a rounded cross.
o This rounded volume is elevated on 4 pillars,

a recurring motif in modern architecture,
where form follows function.
--
Concept
-
o The concept of the geometry of the clover,
was accomplished by overlapping panels
•
along the form of a rounded cross.
o This rounded volume is elevated on 4 pillars,

a recurring motif in modern architecture,
where form follows function.
--
UNESCO Headquarters Paris
-
o The design of the UNESCO (the United Nations
Educational, Scientific and Cultural
Organization) Headquarters building was the
combined work of three architects: Bernard
Zehrfuss (United States), Marcel Breuer (France),
and Pier Luigi Nervi (Italy).
o The main building, which houses the secretariat,

consists of seven floors forming a three-pointed
star.
o To this is added a building called the

"accordion" and a cubic building, which is
intended for permanent delegations and non-
governmental organizations.
o These buildings occupy a trapezoida l area of

land measuring 30,350 square metres (326,700
sq ft
-
-
o Nicknamed the 'three-pointed
star', the entire edifice stands on
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seventy- two columns of concrete r,,.,... _

piling. ·-· \
The second building accordion
holds a egg shaped hall with a
pleated copper ceiling where the
o pcn,oot1(or o1a rgct1vm~tl Of the attendant

speakers, who may each
contribute prepared or ad -hoc
material.)of the general
conference was held
Cubic building consists of 2 office

floors hollowed out below street
level around 6 sunken courtyards.
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Robinson House
-
o Robinson house designed by architect Marcel
Breuer is an example of innovative binuclear
design.
o The house covered an immense expanse of land
and features a design which interacted with the
landscape which surrounds it.
o The house is single levelled and it features a

binuclear design for which Breuer became famous
for.
o The binuclear house encompasses separate wings

for bedrooms and for living dining and kitchen
areas.
o The butterfly roof in which two roof surfaces with

opposing directions angled towards a middle point
covers the binuclear plan of the building.
Robinson House
SPATIAL PLANNING
o The space in the house is organized into
two main geometrical areas which are
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connected , a rectangle and a square. r""~ ···· · -· .
o Square is accessed by a ramp leading to

the entry way and provides immediate
access to the living area which
incorporates the dining space and
kitchen.
o The rectangle includes bedrooms and

garage.
o Garage is on the exterior and bedrooms

are on the interior but located little
further away from the entry and deeper
into the house for more privacy.
Robinson House
o While house is split into two main areas, there
are levels of enclosure within that.
o The living and dining room overlook the ~

terrace and have a wall which partially splits ~
them but extend into the landscape which the
house occupies.
o These walls extend in different directions
bringing the landscape into the architecture
and creating partially revealed enclosures on
the exterior of the house.
SANTIAGO CALATRAVA
- • He is an artist, poet and engineer.
PHILOSOPHY
o Gothic architecture w ith the emphasis of height
o Works of Antonio Gaudi
o human figure and nature's creativity
o Experimentation with materials and their
properties mainly glass and concrete and the
play of light through the materials.
'
DESIGN STYLES
o blends impressive visual style and the strict rules of engineering
o Symbolic and recognizable the world over for the sense of movement captured in
a stationary object.
o long sweeping lines, stark white materials and a flawless use of glass and light.
o Had a definite vis ion of inside and outside, the concave and convex, of how we
face the specific world.
The HSB Turning Torso
- o HSB Turning Torso is one of the t allest res id ential
buildings in Europe and holds apartments, offices
and meeting facilities.
o Inspiration from the human body in a twisting

motion.
o The building rises l 90 metres high

o Consists of 9 cubes with five floors each and
o t ogether with intermediate floors a total of 54

floors are present.
Building :Mixed use
1st to 2nd cube :commercial space
3rd to 9th cube :residential space
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ENTRANCE
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The HSB Turning Torso
- o Each floor has 400m 2 of available
space with 147 apartments from cube
3 to 9 .
o Gathering &meeting facilities on the
two top floors.
o Each floor consists of a square part

around the core
17 mts v
o and a triangular part which is
supported by an external steel
structure.
o The entire construction twists 90
,
degrees on its way up with each floor 2 25·30
tilting by l .6 degrees
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The Apartment
- o All the apartments have unique layouts
d e pending on the ir position in the building.
o The living rooms are large and open, often w ith

views in t wo directions.
o The impression of light and space is rein f orced

by the elevated ceiling in the living rooms.
o The large, slightly tilted windows give the

apartments a gene rous flow of natural light and
fantastic v iews
Facade
-
o An exoskeleton around the building's front
face is made of tapered white steel tubes.
o Following the concrete perimeter column,

the exoskeleton's single upright is fixed to
the tower between each module with
horizontal and inclined tubes.
o These tubes reach back to steel anchors

embedded in shear walls at the building's
back corners.
o While the spine column takes perimeter

vertical loads, the exoskeleton around it
provides wind resistance and dampens the
building's vibrations.
•• APARTMENT
OFFICE
RECEPTION
-· • CONFERENCE FACILITIES
ESCALATORS
• ELEVATORS
-
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PAS I LLOS CEN T RALES OE 01STR 1euc16 N

WTC Transportation Hub
- o In January 2004, Santiago Cala trava unveiled his d esign fo r the World Trade
Center Transportation Hub.
o a new, permanent f acilit y for Lower Manhatt an, locat ed immed iate ly t o the east of
the original W o rld Trade Cent er Twin Towers.
o The project replaces the original Port Authority Trans-Hudson (PATH) rail system
that was d estroyed on Septembe r l l, 200 l.
o In addition to se rving the Port Authority
Trans-Hudson (PATH) commuter trains, # .,..,i.,i
the building also connects to New York
City subway trains;
o t o provide seamless, indoor pedestrian

access t o Brookfie ld Place, towe rs l , 2,
3 and 4, as w e ll as the new Fulton
Street Transit Cente r; and crea t es an
inspiring, light -filled public gathe ring
place.
The Design
- o Calatrava's first major design decision for the WTC Transportation Hub was
to conceive the building at grade, the 'Oculus', as a free standing structure
and situate it along the southern edge of Daniel Libeskind's 'Wedge of Light'
plaza.
o Calatrava, said the Oculus resembles a bird being released from a child's
hand.
o The roof was originally designed to mechanically open to increase light and
ventilation to the enclosed space.
o The design was further modified to eliminate the opening and closing roof
mechanism because of budget and space constraints.
o The 'Oculus' is comprised of steel ribs and glass arrayed in a large elliptical
shape.
o The ribs extend to create two canopies over the north and south portions of
the plaza.
The Design
- o The rafters spring from two 350 ft arches flanking the project's central axis.
o Between the arches, a 330 ft operable skylight frames a slice of the New York
sky, and opens on temperate days as well as annually on September l l .
o Santiago Calatrava speaks of light as a structural element in the WTC
Transportation Hub, saying that the building is supported by 'columns of light. '
o At approximately 800,000 square feet, the Hub, will be the third largest
transportation center in New York City, rivaling Grand Central Station in size.
o When completed, the "Oculus," the upper portion of the Transportation Hub, will
serve as the main concourse incorporating 225,000 square feet of exciting,
multi-level retail and restaurant space along all concourses
o When complete, this structure will reach five stories underground into a
basement with connecting ramps leading to the parking and below-grade
facilities of all of the adjacent projects on the 16 -acre WTC site.
GIO PONTI
- o Giovanni "Gio" Ponti ( l 8 November l 891 -
l 6 September l 979) was an Italian architect
industrial designer, furniture designer, artist,
and publisher.
o Ponti never viewed architecture as simply

creating buildings. Instead, he often
conceived of the building's interior as
well, creating furniture (chairs, coffee
tables) , lighting appliances, and even items
like ceramics, glassware, and silverware.
o Ponti's career in architecture included famous

buildings across the globe like Denver Art
Museum, Pirelli Tower etc.
North Building at Denver Art Museum
- o The roots of the Denver Art Museum can
be traced all the way back to the
Denver Artists Club, which was founded
in l 8 9 3 in Denver, Colorado.
o It wasn't until l 91 8 that the club
adopted the name Denver Art Museum
and began to offer public exhibitions in
the City and County Building, their home
at the time.
•expansion projects included the South Building in l 9 54, the North Building in l 971
• Standing at 7 stories tall, the building has 24 different sides, all covered with over
one million tiles of reflective gray glass.
• The building is said to resemble a castle, with a pierced roofline and dramatic
windows of varying shapes and sizes.
• At the time, North Building was cons idered a refreshing shift from traditiona l museum
architecture.
The Design
- o His design for the building was inspired by a
combination of form and function.
o He conceived of a vertical structure, where

different groupings of art could be
arranged in a more accessible manner. Ponti
included interior walls which could be
rearranged to suit the changing needs of the
museum.
o Visitors often notice each floor of the North

Building is laid out differently, and the walls
are shifted periodically to house new
collections.
o The gray tiles on the exterior of the building

were chosen specifically for their ability to
reflect the light of the sky.
The Design
-
o Ponti used tiles that were both flat and pyramid-
shaped.
o This causes light to be reflected from different
angles, so that t he building actually has a different
appearance depending upon the weather, light, and
angle at which one views the building.
o each window's shape and style was specifically
chosen according to factors both inside and outside
the museum.
o Since sun light can damage va luable works of art,
the sma l ler, slit-shaped windows were placed in
areas of gall eries, while lobby areas contain the
building's larger windows.
o These large windows, on the other hand, were
strategically p laced to provide panoramic views of
the city and the Rocky mountains in t he background .
Pirelli Tower
-
o Located in the city of Milan, Italy
o The tower was designed as a commercial
office building.
o The tower was to be surrounded by low
lying buildings on a pentagonal plot of
land.
o shape of the building provokes such

thoughtful analysis because it was one of
the first skyscrapers in the world created
without the traditiona l rectangular
structure commonly seen in tall buildings.
o It is obvious Ponti intended for the building
to become, in part, a work of art that
would add a sense of beauty and style to
the city's skyline.
The Structure
-
o The 33-story tower was sturdily constructed using 30,000 cubic meters of pre-
stressed, reinforced concrete.
o Walls of thermo pane windows and a roof that appeared to float above the
structure added to its modern appeal.
o The tower has been said to resemble a smooth, unbroken curtain wall
o The layout of the building, with its centrally located corridors and elevators, lends
itself perfectly to busy corporate life.
o Ponti also anticipated the company's desire for flexibility in its workspace, and
included moveable partitions on every floor so that offices could evolve to
accommodate future needs.
The Structure
- - •
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PEIR LUIGI NERVI
- • Pier Luigi Nervi (June 2 1, 189 1 - January 9,
l 979) was an Italian engineer.
o He developed ideas for a reinforced
concrete which allowed him to create
structures of "strength, simplicity and grace".
o Nervi believed that architecture and

engineering were two connected parts of a
whole.
o To produce good buildings, he felt that a

knowledge of materials, nature and
construction were essential to understanding
architecture. His work as a theorist attracted
a wide following.
o Through his designs, Nervi successfully made

reinforced concrete the main structural
material of the day.
Cathedral of Saint Mary ' s
- o The Roman Catholic Cathedral of Saint Mary
of the Assumption was first, built in 1854,
was abandoned when the congregation
outgrew the space, and the second Cathedral
was built in l 891 . '
o This structure burnt and was destroyed in

1962, and so the current Cathedral was
commissioned and consecrated in l 97 1 .
o The Cathedral of Saint Mary of the

Assumption in San Fransisco, designed
primarily by Pietro Belluschi and Pier Luigi
Nervi, is a structural feat of engineering and
a bold Modernist design from the early
l 970's.
Features
- o It has a simple square plan,
o the roof of the cathedral rises into four
parabolic hyperboloids, which are given a
seeming weightlessness by their vertical
separation from the floor and their lateral
separation from one another.
o Four pylons raise the cupola, and brilliantly

colored stained glass separates the cupola
fragments, giving the nave a sense of
effortlessness.
o Saint Mary's Cathedral is now a clear

representation of the Modernist movement,
evidenced by its radical use of precast
concrete forms and non-traditional religious
design.
Technical details
-
o Structures got lighter and thinner, and
Nervi took advantage of this in
designing the triangular un its that
make up the cupola of Saint Mary's.
o The shifting unit types, comprised of
l 28 sizes and l 680 pieces, bear a
resemblance to today's
parametrically designed buildings,
but was obviously constructed with
only late l 960's technology.
o Nervi's design, while fitting within the
structural Modernist movement, was
still ahead of its time.
-
o The design of the UNESCO (the United Nations
Educational, Scientific and Cultural
Organization) Headquarters building was the
combined work of three architects: Bernard
Zehrfuss (United States), Marcel Breuer (France),
and Pier Luigi Nervi (Italy).
o The main building, which houses the secretariat,
consists of seven floors forming a three-pointed
star.
o To this is added a building called the

"accordion" and a cubic building, which is
intended for permanent delegations and non-
governmental organizations.
o These buildings occupy a trapezoida l area of

land measuring 30,350 square metres (326,700
sq ft
-
-
o Nicknamed the 'three-pointed
star', the entire edifice stands on
-
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seventy- two columns of concrete r,,.,... _

piling. ·-· \
The second building accordion
holds a egg shaped hall with a
pleated copper ceiling where the
o pcn,oot1(or o1a rgct1vm~tl Of the attendant

speakers, who may each
contribute prepared or ad -hoc
material.)of the general
conference was held
Cubic building consists of 2 office

floors hollowed out below street
level around 6 sunken courtyards.
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-
o Structures got lighter and thinner, and
Nervi took advantage of this in designing
the triangular units that make up the
cupola of Saint Mary's.
o The shifting unit types, comprised of l 28

sizes and l 680 pieces, bear a
resemblance to today's parametrically
designed buildings, but was obviously
constructed with only late l 960's
technology.
o Nervi's design, while fitting within the
structural Modernist movement, was still
ahead of its time.
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OSCAR NIEMEYER
-
• A Brazilian architect specializing in International Modern
Architecture. . I·
• Oscar Niemeyer is considered to be one of the key
figures in the development of Modern Architectu re.
c --
DESIGN PHILOSOPHY
• Niemeyer is most famous for his use of abstract forms
and curves that specifically characterize every one of
his works.
• He believed that architecture, technology and nature he
integrated with the natural elements
• he is not attracted to straight angles or lines but rathe r he is captured by ' free-flowing
curves'.
• He designed & built curved architecture through his revolutionary usage of concrete.
• His buildings are characte rized by being spacious and exposed, mixing volumes and
empty space to create unconventional patterns and often p ropped up by piloti,{piers}
• Niemeyer was able to connect the baroque style with modern architecture leading to a
new form of architecture, which had never been built in Brazil before.
Brazilian International Congress
- o The building is located in the middle of
the Monumental Axis, the main street of PARLIAMENT OFFICE TOWER
Brasilia.
o In front of it there is a large lawn where
d emonstrations take place. CHAMBER O F DEPUTIES
SENATE BUILDING
o Oscar N iemeyer d esigned the National
Congress during the late l 9 50s and
early l 960s while he served as chief
architect for Brazil's new capital city,
Brasilia.
o The complex is composed of several
buildings.
o Shown here is the domed Senate
building on the left, the Parliament office
tower at the center, and the bowl -
shaped Chamber of the Deputies on the
right.
Brazilian International Congress
-
o The semi-sphere shape on the left is the seat of
the Senate and the semi-sphere on the right is
the seat of the Chamber of the Deputies.
o Between them are two vertical office towers.
o The Congress also occupies other surrounding

office buildings, some of which are
interconnected by tunnels.
Cathedral of Brasilia
-
o The Cathedral of Brasilia is
the Roman
Catholic cathedral serving Brasilia
I Brazil
o Completed on May 3 1, l 970
o The concrete framed hyperboloid

structure seems with its glass roof
to be reaching up , open , to
heaven.
o Niemeyer saw a compact and

clean concept, a volume occurring
with the same purity from any
perspective and for times of deep
religious expression.
Features
-
o In the square access to the temp le, are four
bronze sculptures with three feet ta ll, representing
the evangelists.
o Inside the nave are the sculptures of three angels,
suspended by steel cables.
o The baptistery was ovoid in shape.
o At the entrance of the cathedral is a pillar with
passages.
o The Cathedral of Brasilia is 40 meters high and
holds up to 4 thousand people.
o The base of the building is circular and about 60
m in diameter.
o Its glass ceiling, begins at the floor and is
supported by l 6 curved columns.
o Its circular structure prevents the existence of a
fa~ade.
Cathedral of Brasilia
- o Hand-painted ceramic tiles cover the walls
of the oval-shaped Baptistery, done by
Athos Bulcao in 1977.
o The Cathedral is completed with its bell
tower, housing four bells that were donated
by Spain.
o More obvious details of the interior are the
stained glass windows, with different shades
c,f h l11P whitP nnrl hrnwn
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I.M PEI
-
• leoh Ming Pei , I.M. Pei , was born in Canton,
China in 19 17.
• he relied on abstract form and materials such as
stone, concrete, glass, and steel
• He does not believe that architecture must find
forms to express the times or that it should remain
isolated from commercial forces.
• After building largely in concrete for many years,
more recently Pei designed many sophisticated
glass-dad buildings loosely related to the high-
tech movement.
• However, many of his designs result from original
design concepts.
• He frequently works on a large scale and is
renowned for his sharp, geometric designs
Suzhou Museum
-
• The Suzhou Museum is a museum of ancient
Chinese art, ancient Chinese paintings,
calligraphy, and handmade crafts, situated in
Suzhou, Jiangsu, China.
• The antiquities are mainly bronzes and jades from

archaeological excavations of Neolithic and
Bronze Age sites around Suzhou.
• The design of the museum takes its cues from the

rich vocabulary of Suzhou's traditional
architecture, with its whitewashed plaster walls,
dark grey clay tile roofs and intricate garden
architecture.
The Design
-
o The architect set out to bring a breath of contemporary architectu re to this historic
area, although he incorporated many traditional Chinese architectural elements,
such as the grey and white colour palate used in nearby older buildings.
o Against this context of muddled architectural rhetoric, Suzhou museum with its
measured formal simplification presents a haven of satisfying, experiential
s atialit .
• the design of the Suzhou

museum aims to establish
a new paradigm of
contemporary
contextualism.
\
The Design
-
o An unassuming sloping entrance, punctuating the
high walls of the museum premises. '-----·
o The glazed wall of the octagonal entrance hall

overlooks a body of water that reflects the tints
of the sky,
o whilst it is lined with stone murals of mountains

forming a composition evocative of Chinese
paintings.
The Design
-
o the design of the Art Museum is organized around a series of gardens and courts
that mediates between the building and its surrounding environment.
o As visual connections between the two properties are not possible due to the high
garden walls,
o water is used physically and metaphorically as a bridge between the two

properties.
o wood clad, intimately scaled and optimally lit, these exhibition spaces invoke
curiosity in, and reverence for, the exquisite detailed objects of ceramics, bronze,
wood and jade.
o The museum buildings have an almost origami-like quality, creased and folded to
accommodate the galleries within.
o A structurally elaborate staircase connects the three levels of galleries.
o Cantilevered over serene water features that impart a moist stillness to the air, and
inundated with a haze of natural light from skylights, its scale is neither
overwhelmingly monumental nor submissively small.
The Design
-
o The building's plan is formed to the west by a
framework of galleries showing ancient Chinese
art, whilst further contemporary art galleries,
and recreational and administrative spaces,
organised around a placid pool of water,
situated to the east of the entrance hall.
o Passageways of increasing volume, topped by

skylights, lead to the exhibition galleries.
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The Miho Museum
-
o The Miho Museum was a joint Japanese and American project completed by
architect I. M. Pei and Kibowkan International, Inc. ,on a scenic mountainside in a
nature preserve near the town of Shigaraki, Japan.
o The Miho museum stands deep in the forested hill west of central koka
o Perhaps the most interesting aspect of the museum is the design of its structures
and how they are integrated into their natural surroundings.
The Concept
-o the design is in such a way that, the structures are
integrated into their natural surroundings. This is
highlighted in the museum's approach which leads
through a mixture of man-made and natural
environments.
o The inside of the museum continues this theme by

contrasting steel and glass with warm stone and
panoramic views of the surrounding valleys.
• Only after climbing a gently sloping
path lined with verdant trees, passing
through a tunnel, and crossing a
bridge can the Miho Museum be
found.
• The museum is the expression of that
moment, the moment that the museum
suddenly comes into your eyes.
• It is just like a script
The Exhibition
-
o The museum's exhibits consist of works from ancient civilizations including the
Egyptians, Romans, and various Asian cultures, with the pieces largely coming
from Koyama's (the founder)private collection.
o The museum's details reflect the designer's innovative endeavour to break new
ground, as with the novel appearance of sloped glass walls composed of space
frames, the warmth of the materials used, especially the magny dore limestone
and colored concrete, and the systems for exhibiting and housing works of art
under the optimum conditions.
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JORN UTZON
- · Jorn Oberg Utzon, was a Danish architect, most
notable for designing the Sydney Opera House
in Australia.
• Utzon had a Nordic sense of concern for nature

which, in his design, emphasized the synthesis of
form, material and function for social values.
• His fascination with the architectural legacies of

the ancient Mayas, the Islamic world, China and
Japan enhanced his v ision.
• This developed into what Utzon later referred

to as Additive Architecture, comparing his
approach to the growth patterns of nature.
Sydney Opera House
-
• Utzon won the competition to design the Sydney Opera House.
• Utzon's competition entry was a schematic design, clearly explaining the concept
for the building.
• Sydney Opera House is a masterpiece of late modern architecture.
• In its short lifetime, Sydney Opera House has earned a reputation as a world -class
performing arts centre and become a symbol of both Sydney and the Australian
nation.
Design Principles
-
o THE BUILDING AS SYMBOL o PRE-FABRICATION
o THE BUILDING AS SCULPTURE o GEOMETRY
o FORM AND FUNCTION o STRUCTURAL EXPRESSION
o ORIENTATION AND o MATERIALS
MOVEMENT COUNTERPOINT O COLOUR
o ADDITIVE ARCHITECTURE o LIGHT
ELEMENTS
o ACOUSTICS
Concept
-
o the massive concrete sculptural shells that form the
Sydney opera house's roof appear like billowing sail.
filled by the sea winds with the sunlight and cloud
shadows playing across their shining white surfaces.
o was based on a simple opposition of three groups of
interlocking shell vaults resting on a heavy terraced
platform.
o arranged the two performance halls side by side-th
other side, this arrangement helped to give a
sculptural appearance that could be experienced and
appreciated from land, sea and air as one moved
around.
o the use of nature is evident , Utzon frequently cited
analogies to natural forms such as the 'palm leaf'
structure of the vaulted shells and the idea of the
' walnut kernel ' for the performance spaces within
the shells .
Features
-
o the Sydney Opera House is a
modern expressionist design, w ith a series
of large precast concrete "shells "each
composed of sections of a sphere of 75.2
metres (246 ft 8.6 in) radius forming the
roofs of the structure, set on a
monumental podium.
o the building covers l .8 hectares
(4.4 acres) of land and is 183 m (600 ft)
long and l 20 m (394 ft) wide a t its
w idest point.
o apart from the tile of the shells and the
glass curtain walls of the foyer spaces, ~~§~fl~~
o the building's exterior is large ly clad with C
aggregate panels composed of pink !>-./.....><;:>1k'""
granite.
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CONCERT HALL: . Cat3
. Cat4
o the highest roof vault (above the concert hall) is 67m
(22 1 ft) above sea level.
o the roofs are made up of 2, 194 pre-cast concrete
sections.
o these sections are held together by of tensioned steel
cable and are covered with exactly 1,056,056
Swedish ceramic tiles arranged in 4,253 pre-cast
lids.
o there are 6,225 sq m (67,000 sq ft) of g lass, made
in France, in the mouths of the roofs and other area s
of the b uilding.
o it is in two layers - one plain and the other demi -
topaz tinte~ciboulf"Z,;()C~pu!Te!rili~:}G.-si;?,6$.-W.El.!e_ __ _ __ __ _ _ __ _j
insta ll ed.
PLAYHOUSE, SYDNEY OPERA HOUSE
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DRAMA THEATRE:
CONCERT HALL:
•the drama theatre, a proscenium theatre (is
o the concert hall, with 2,679 the area of a theatre surrounding
seats, is the home of the Sydney
-
the stage opening)with 544 seats, is used by
number of other concert and theatrical presenters.

presenters. •in a proscenium theatre, the audience directly
o it contains the Sydney opera faces the stage, which is typically raised
house grand organ, the largest several feet above front row audience level,
mechanical tracker action organ and views the performance through the
in the world, with over l 0,000 proscenium "arch". the space that holds the
pipes. audience is called the "house".
-
THE STUDIO:
o a flexible space with a maximum capacity
of 400 people, depending on
configuration.
THE UTZON ROOM:
o a small multi-purpose venue, seating up to
2 1 0.
THE FORECOURT:
o a flexible open -air venue with a wide
range of configuration options, including
the possibility of utilising the monumental
steps as audience seating.used for a
range of community events and major
outdoor performances.
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Bagsvaerd Church
-
o Bagsvaerd church is located on the
outskirts of Copenhagen, Denmark
o The building is considered to be a
masterpiece of contemporary church
architecture, especially its bright,
naturally illuminated interior and its
ceiling straddled with softly rounded
vaulting.
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waiting room. 5, office. 6, c.onfirmands' room . 7,'
parish hall. 8. meering room. 9. kirchen. JO,
aJrium gurd~n . 11, chapel.
Form
-
o To generate Bagsvaerd church's form, Jorn uses his ideas of
additive architecture, aspects of critical regionalism and light as a
function of architecture.
o The primer driver for his preoccupation with additive architecture
was 'his realization that society not only needs appropriate type-
forms but also ways of achieving these forms in an economic
manner.'
o The exterior material choices and plan arrangement for the church
reflect this idea of additive architecture.
o The structure I logic of the bui Id ing is organized on a grid of
2.2mx2.2m, 36x 1 0 units across.
o There are 5 separate bays arranged in a row from west to east
with lateral sky-lit corridors that establishes the zones around each
area and delineate the organization around the courtyards.
Form
-
o The function of the bays is laid out one after the other so that together they make
up a unified building volume.
o The exterior of the church suggests the form of a warehouse and a Danish barn
and the interior, specifically the vault expresses a poetic spatial experience of
curvilinear concrete forms that produce of fluffy white clouds opening up to the
sky above.
o The church is a spatial

response to daylight and
the path of the sun in
Denmark.
o Almost every room in the
church is situated
between and lightened fo,covrt
+ churth
+
off\ces
+ parish hall + seminar
chapel sacristy lt.,l(htin workspaces
by 2 light sources: Mttance
courtyards and corridors.
Fig. I· Additive Architecture
Design Aspects
-
o Some of the forma l aspects that relate to human proportion of the church are Utzon's
use of the square in plan and in elevation, circles in the undulating ceiling, both these
basic geometrics referring to Da Vinci's Vitruvius man.
o In terms of layout, the church 's nave, apse and transepts references the cross
o qualities of t he ceiling immediately emulate a feeling of transcendence to heaven.

o The play of light on the recessive white surfaces of the undulating ceiling suggestive of
clouds in Utzon's early sketches and the repeated circular vaults extend towards
infinity- which p rovides an experience of being both spatially and spiritually moved.
o What is present in Bagsvaerd church is the juxtaposition of the interior & the exterior
and its relationship to the fema le & male.
o At first glance, the church suggests solid, dominant industrial appearance with the
exterior of prefabricated concrete and sharp angles-inculcating masculinity.
o However, the poetic, cloud-like undulating cei ling and sacred space appeals to
emotions and gives the sensation of the feminine to the interior.
- o the ceiling is a combination of variety
diameter circles, creating the cloud
rm
(
I
I
I o
like appearance.
Lighting t echnique -Bagsvaerd church

I
I I
I
I
has been described as 'organised in
~<'~~,,, light' .
o Ut zon uses 3 daylight scenes to achieve his effect of undulating clouds while also
lighting circulation co rridors and of fice/ work spaces.
1. The underst anding that reflected of diffused light is usually pref e rable to a direct
view of a light source.
2. Sensitivity to the sun's daily and annual path through the sky with re fe rence to
particular location.
3. The realisation that light receiving d evices could be made into inhabitable spaces.
0 The undulating ceiling physically
represents rolling clouds and the
opening up into the sky creates
the opening to the heavens.
0 Bagsvaerd church physically

represents this scenario with the
form and glazing usage.
D
The plan depicts a cl ear structural grid
combined with his lighting methodology that
summaries his design strategy for this church.
overhead corridor glazing
clerestory diffused light
liQht from courtyard

Interior
-
o The interior includes the nave and sacristy,
offices, rooms for confirmation classes, a
meeting room, and a whole section for youth . .. ..
activities.
..•,•,•,•,•,•
········•··•· ..•.
,•,
•,·,•,• ········•·•··•·
.
.
,..,..,......... .....
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I
. ·•·•·•·•
o They are all linked by wide corridors which ~~' i.,J B
run both through the building and along the
external walls where they are illuminated by
skylights.
o The vaulted ceiling is made of
reinforced concrete shells, only l 2
centimetres thick and spanning l 7 metres.
o The curved cylindrical shells rest on flanges
..
supported by rows of double columns which
act as flying buttresses.
Prepared by:
Ar.Shalini ROBERT VENTURI
HOA 4 201 6 IESCA
Introduction
- • Robert Venturi, born in l 925, always planned to become an
architect.
• In 1950, three years after graduating, he received his Master of

Fine Arts, also from Princeton.
• Venturi eventually went on to work with some of the great

architects of the day, including Louis Kahn and Eero Saarinen.
• Following that, he spent two yea rs as a fellow architect at the

American Academy in Rome before he opened his own firm in
Philadelphia and started teaching at the University of
Pennsylvania.
- • Venturi is also known for coining the maxim "Less is a bore", a
postmodern antidote to Mies van der Rohe's famous modernist
dictum "Less is more".
• Venturi has been considered a counterrevolutionary.
• Beginning in the 1960s he spearheaded the "Post-Modern" revolt

against the simplicity and pure functionalism of modernist
architecture.
• In both his buildings and his writings he championed an architecture
rich in symbolism and history, complexity and contradiction
Complexity and Contradiction In
Architecture
- • He published his "gentle manifesto, "Complexity and Contradiction
in Architecture" in l 966.
• The book demonstrated, through countless examples, an approach to

understanding architectural composition and complexity, and the
resulting richness and interest.
• Architecture is different because it

does not adapt to the opportunity
of variety.
• Venturi suggests that architecture is
rationalized through rejecting and
excluding the complexities that
emerge in architecture
Architecture
-
• He published his "gentle manifesto, "Complexity and Contradiction
in Architecture" in l 966.
• The object as well as the aim of the book is straight forward: a

theory of design providing an alternative to 'orthodox modernism' .
• The book demonstrated, through countless examples, an approach to

understanding architectural composition and complexity, and the
resulting richness and interest.
Architecture
-
· the nature of the relationship between the interior and exterior design
of a building.
· the importance of location and context surrounding the building.
· the contrast between the interior and exterior designs.
· contradictory interior spaces does not go against the idea of continuity
asserted by modern architecture.
· designing from both the inside and the outside means that the wall
becomes the point of change and contact between the two works.
· architecture requires a balancing of our vision, that it not be too specific

or too general and this requires considering all factors at p lay - the
context, location, and purpose of the building overa ll and each
component.
Vanna Venturi House
-
• one of the first prominent works of
the postmodern architecture
movement
• located in the ne ig hborhood of

•
chestnut hill 1n philadelphia,
pennsylvania.
• the aim was to create a building that

would not only be functional but also
capable of producing a sense of
artistic tension.
Design
-
The
features:
mixed contradictory
•
• the exterior shape of the house IS
•
simple, yet the interior plan IS
complex
•
• while the overall facade IS
symmetrically conceived, symmetry

is broken by unbalanced windows I .South east view 2 .view from south
and an off-center chimney.
• although the scale of the house is

quite small, many of the details
(doors, chair rails, fireplace
mantels) are huge
Design
-
• the basic elements of the house are a
reaction against standard modernist
architectural elements:
· pitched roof rather than flat roof, emphasis

on central hearth & chimney,
· closed ground floor "set firmly on ground"
rather than modernist columns & g lass walls
which open up the ground floor.
· on the front elevation the broken pediment or
gable & a purely ornamental applique arch
reflect return to mannerist architecture and a
rejection of modernism.
- · house is a composition of rectangular,
curvilinear, and diagonal elements
coming together (or sometimes
juxtaposing each other) in a way that
inarguab ly creates complexity and
contradiction.
-
• in order to create more
contradiction and complexity,
Venturi experimented with scale.
• inside the house certain elements

are "too big," such as the size of :
the fireplace and the height of the
mantel compared to the size of the ,-~~~~~~~~~-ee
room.
• doors are wide and low in height,
especially in contrast to the
grandness of the entrance space.
- • Venturi also minimized circulation
space in the design of the house, so
that it consisted of large distinct
rooms with minimum subdivisions
between them.
Exterior Views
__ . . DI!
- i'illl _ .: -
'
Plan
-
I
I I I
!
•
l l
'
'
---
--
I , I I
Rear elevation Front elevation

Provincial Capitol Building
-
• the capitol is the heart of the municipal
administration of the French city of
Toulouse. 'f.'
'
• the building consists of an administrative
SITE PLAN
and legislative complex includ ing offices,
the legislative assembly chamber, public
services, various public and
governmental support spaces,
• three levels of underground parking for
public and staff,
• and outdoor and indoor ceremonial
spaces.
Architectu ra I Features
- • the building is 2 narrow 6 story wings

jo ined together by two glass-clad
bridges,
• glass curtain walls were unique at that
time for Toulouse which is mostly brick
town.
• the current fas;ade, 1 35 metres long

and built of the characteristic pink brick
in neoclassical style,
• the eight columns represent the original

eight capitols
-
• these linear administration buildings
frame a pedestrian way, a "civic
street" that crosses the site
diagonally and connects the site to
a historic city gate near the canal
du midi bridge replicated with two
columns.
• at the center of the site one wing
bows outward to create the
crescent-shaped public space along
this civic street, the focus of
buildings.
Plan
-
•
••••
ri-
•
.~
-~-- .
Prepared by:
Ar.Shalini
HOA 4 201 6 IESCA
CHRISTOPHER ALEXANDER
Introduction
- Brutalist architecture is a style of architecture which flourished from the
1950s to the mid 1970s, spawned from the modernist architectural
movement.
Brutalist buildings usually are formed with striking repetitive angular
geometries, and, where concrete is used, often revealing the texture of
the wooden forms used for the in-situ casting.
Although concrete is the material most widely associated with Brutalist
architecture, not all Brutalist buildings are formed from concrete.
Instead, a building may achieve its Brutalist quality through a rough,
blocky appearance, and the expression of its structural materials,
forms, and (in some cases) services on its exterior.
Christopher Alexander
- · Christopher Wolfgang
Alexander is an architect
noted for his theories about
APattern Language
Tm\,.., ·BuiMi11~> 0,nstfUUion
design as well as over 200
bui Id ing projects a round the
world.
· Alexander's built work is

--
characterized by a special
quality that relates to human Chr"1upl11•r .A lex..:incll•r
beings and induces feelings ··,rn l,hik.J1111 ~1urrJ) s;i.~,.,,,~;11
of belonging to the place and ' 1ax J;,c~i,l,,..111 I ni:ricl Vik,d !I hi• Ki 11.i:
structure. 'hlom11 A11~t·I
Eishin School near Tokyo
- · guided by the feelings of
faculty and students.
· guided by close adherence to the
emotional character and feeling of
the land, in every detail.
· expl icitly oriented toward craft and
construction which aimed at loving
details that give joy to ordinary.----=-------------,
people.
· aimed at the idea of supporting
and healing the wholeness of ,
people, animals, and plants that live
movement.
•
Ariel view
-
Architectural Features
-
• 36 buildings on the 23-acre site
• An outer boundary surrounds the
campus. Contained by this outer
boundary there is an outer precinct.
• The outer precinct surrounds an inner
precinct.
• The inner precinct is a densely built
area where School and College have
their major buildings and activities.
• The Outer Precinct is an area for
relaxation, sport, outdoor activities
and recreation
-
• The Entrance Street to the campus is a
highly visible pedestrian Way.
• It begins at the Outer Boundary of the
Campus, and ends at the Inner Precinct
• The Small Gate marks the outer end o
the Entrance Street.
• The Entrance Street is flanked with
walls and trees.
• It is extremely quiet.
• Where the Entrance Street meets the
Inner Precinct, there is a second, much
larger, Ma in Gate.
-
• The main gate is three stories high.
• Beyond the Main Gate, there is a Publi..,,:+-1..,,.
Yard.
• Opening onto this Public Yard, there is
an immense building, the Great Hall.
• The Great Hall shapes and forms the
Public Ya rd.
• Beyond the Public Yard is the Tanoji

Center, the core of the Inner Precinct.
• This Center is the meeting place of

College and High School etc.
- • As a whole, the Campus is given its
character by stone foundation walls,
natural concrete walls, wooden columns, -
white plaster surfaces, some green
surfaces, wide overhanging roofs, dark
roofs, stones and grass and pebbles on
the ground.
Eishin School near Tokyo
-
- Q
- •
•
·-1
'
...........
, .,...,
.,... ....... ...-......-..-,,.....,-,..._
... .. '....,..,...,
•
1•
•~ •
•
Low-cost Housing in Mexicali
-
• Project located at border town Mexicali
• 1975 Christopher Alexander was asked by the
government of the state of Baja California to
instruct the self- help housing project. Architects &
students involved
• Government provided land in one block for 30

families to design their own homes
• The city was growing rapidly in all directions due

to continuous flow of settlers coming from all parts /
of Mexico in search of work
• Came to Mexicali to demonstrate a method of

design and construction appropriate to self- help
housing in this reg ion.
• "Pattern Language" developed by Alexander
would be used as a basis for the design.
Builders yard concept
- • Key concept of self-help housing project was centered around a builder's
yard.
• Builder's yard would become an institution and a place where anyone

could go and learn about construction and building materials.
• Materials and tools were stored .
• community to come together to discuss and get advice .

• Building system= soil-cement blocks with concrete roofs.
• Each room had an individually vaulted or domed roof that gave the
group of buildings distinctive appearance.
• Constructed around courtyards.

• Designed in units of clusters to create social bonds among families.
.....
-
"
.•
. ;(
.,.,·
Prepared by:
Ar.Shalini
HOA 4 201 6 IESCA ALDO ROSSI
Aldo Rossi
-
•Aldo Rossi was an
Italian architect and designer who
accomplished the unusual feat of
achieving international recognition in
four distinct areas: theory, drawing,
architecture and product design.
•His publication The Architecture Of

The City, which quickly established him
as a leading International theoretician.
)
Gallaratese Housing Complex - Introduction
- •decision was made to expand the northern and western perimeters

of the city of Milan with a series of satellite communities housing
between 50,000 and 1 30,000 each.
•A general master plan for the city, was adopted in 1956 and soon
plans were begun for the second large new community, Gallaratese
1 and 2 (Gl & G2).
•Aldo Rossi designed a part of the northern extension.
• By early 1 968, the scheme had evolved into the five building
complex as it basically exists today.
•Architect Aymonino was responsib le for buildings A 1, A2, B, & C,
and Rossi designed the fifth building "D" that extends to the north,
paralleling building "B".
COMPIL(UO'" MONT£ AMLATA .. Nll OIJARTVtf
GAU.IUIA1f8€ tN MC.AMO • 1Hff tt70
BUILDING D
---......
0, ...... .0
Gallaratese II Housing Complex
- •Located in the city of Milan, Italy
•the Gallaratese II housing complex has the capacity to house 2400
inhabitants.
•Aldo Rossi designed the complex at the 'Gallaratese Quarter II' to
be a self-contained village. GALLARATESE
•This coordinates with Rossi' s

philosophy of architecture.
•His view that the primary sources of Ho--c,..... o.
all architectural content lie in the

school, the hospital and the prison is
reflected in the use of primary forms,
axial orientation and repetitive
elements in the fas;ades.
AL.DO Ross, M ll,.AN, ITA\.Y 1967
- Gallaratese II is designed with two apparent axes: north-south and
east-west.
These indicate the primary circulation routes of the building as well
as guiding the relationships between the building and the rest of the
quarter.
•The fifth building, the Rossi

contribution, is a long 3-story high
slab(slab : a multi-floor building
of long rectangular volume)
•is placed in a position parallel to
building B and
•defining a service entrance
between the two buildings.
- •Rossi's building is entirely repetitive and white.
•Almost 200 meters long, this block contains two and three floors
of flats raised on a high base containing a public arcade.
•Rossi's slab, is detached from the other buildings and, is in

contrast to its neighbors,
•is derived from a most elementary section;
•a continuous, constant, repetitive wall that has a curious under-

sealed, diminutive, toy-like quality because of the use of a narrow
structural grid.
- .••• Rossi's slab follows a double-
.-··-
'
, ..__-_
•• loaded corridor (corridor with
...-_
,--··-
.,·__~-- _
= . ..... . dwell ing on either side)system and
skip stop corridor(continuous steps;
-- . . . .
• - ~
elevators)
--
·-
-·
IGl1FhliJ1!J!;kf&~~~lj!ai!1Jri&JrB~J;~ t~3:~7E,ijl{3 blihl

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.. .... . . • • . .... l
1
:0, I •, , :nir:r.c..z -;:u:c:c 1;:;.C ID:tC c:c .r:ocr.or s::i:m"mr.Q; ... c ce I I I I - t . l f:%1UL c::c:: 'EITI I t •• • m:e JX::;~
~~ m,a: m1..1rt::U. CC!".!: ::t:m .JI:a ctrmi:m:: :::ee.u.c::;c;:m:cu.: ~ ™ :r:cc:rm :c~ :::rcrr::r
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11 11 11 1 I I I~ 11111 1111 11 llil ~ oo llll llfli1 111 11 111 11111 lf.J 111 111 111111 1 !!ii 111 11 111111 11
Gallaratese II Housing Complex
-
SERVICE ENTRANCE
ROSSI SLAB-EAST FACADE

Teatro Del Mondo
-
•The Theatre of the World was officially
opened in Venice on the 1 1th of November, '
1979 I I I
•It was designed for the Venice Biennale . I
l
• building type: temporary theatre
•Context: floating on water, urban waterfront
•Constructed in the Fushina shipyards, the
Theatre was towed across to Venice by
~~~~~~~~~~~~~~~~
tugboat. •
Design
- •the scenario is a corridor linking a door and I>
a window,
•the structure of the floor is not centralized,
but is given by the circularity of the galleries
•
and the inclination of the pointed roof.
•the theatre is given by the sum of pure
elements: a central parallelepiped square
stage, with two staircases and an adjoining
octagon auction.
•Incorporates the concept of typology
developed over time both individually and in
the analysis of the city and in the process of
composing new interventions.
The Structure
- •The building was erected over steel beams, welded together to
form a raft.
• Its total height above the platform of the raft is 25m (82').
•It consists of a cuboid 9 .5 x 9 .5 m (31 ' x 31 ') by 11 m (36 ') in
height, which supports an octagon 6m (20') high.
•The top of the cuboid gives access to a balcony with views of the
Giudecca in San Marco's, almost on a level with the statue of fortune
which stands on the Customs House.
•The tubular steel structure is panelled with wood, both inside and
out
Teatro Del Mondo
- Spaces
There is capacity for 400 people, of whom 250 can be seated
around the stage.
It consists of a central stage at the sides with galleries on the upper
floors.
Teatro Del Mondo
- t
PLANS
Cte $ 0 I -
GROUND FLOOR PLAN FIRST FLOOR PLAN

Section and Elevation
-
..
ti ! Ill
-,.
i I Ill I
IB -
RI m ll
Ell
Ell
Prepared by:
Ar.Shalini
HOA 4 201 5 IESCA
Archigram (ARCHltecture and teleGRAM)
-
• An architectural group formed in
the l 960 ' s Based at London.
• Futurist, anti-heroic and pro-

consumerist
• Key proponents: Peter Cook,

Warren Chalk, Ron Herron, Dennis
Crompton, Michael Webb and
David Greene
• Voiced their frustration with the

intellectual conservatism of the
British architectural establishment
through the Archigram magazine
in l 961 .
The Magazine
-
I CHIGR
Principles
- o Operated freely between the fields of poetry, architecture,
and design.
o Inspiration from technology to create a new reality that was

solely expressed through hypothetical projects.
o Committed to a 'high tech', light weight, infrastructural

approach that was focused towards survival technology.
o The group experimented with clip-on technology, throwaway

environment, space capsules and mass-consumer imagery.
Peter Cook-The Plug-In City
-
• Proposed by Peter Cook(l 964)
• A mega structure with no
buildings but just a massive
framework
• Dwellings in the form of cells
or standardized components
could be slotted into the
framework
• The machine had taken over
and people were the raw
material being processed
• Meant for people to enjoy the
•
experience
Expanded Plug-In City 1966
-
The Plug-in City is in fact not a city,
but a constantly evolving mega
structure that incorporates
residences, transportation and other
essential services--all movable by
giant cranes.
'-J ---··
- Large cranes and an intricate web of railways could transport and
drop the units into the network, which contained access ways and
essentia I services.
And while its name suggests otherwise, Plug-In City was in fact the
opposite of a traditional city, a continuously evolving mega
structure rooted in obsolescence that contained no permanent
buildings.
Plug-In City glamorized a new faith in machines and technology

that was based on infinite supplies and hyper-consumption, and
rejected any notion of conventional architecture.
I
•
The aesthetic of incompleteness, apparent throughout the Plug-In

scheme and more marked than in mega structural precedents, may
have derived from the construction sites of the building boom that
followed the economic reconstruction of Europe.
-
I
=====
• •
I
PLUG - INOFFICES
PAULO SOLER!
Pop Architecture
-
• This expression, short for "popular architecture", has been
employed by architectural writers to refer to several different
categories of building:
• Structures popular with large sections of the

general public and/or spec builders and
property developers- "commercialized
modern".
• Structures whose shape or form depicts their
function, e.g. a shoe repair shop built in the
shape of a shoe.-"roadside architecture"
called as "programmatic architecture".
Solimene Ceramic
Factory
-
It is one of the most significant
buildings of this century, standing
on solid rock in the small town of
Vietri sul Mare on the Amalfitan
coast, which is famous for its
ancient tradition of ceramic
craftsmanship going back to the
15th century.
Its production of crockery, floor

and wall tiles, worked and painted
entirely by hand.
The Design
- • With his design, Soleri came up with a wholly new idea that
assimilated and reinterpreted the ancient custom of creating
a courtyard to serve as a central space, a laboratory for daily
life that linked the inside and the outside.
• A spiraling ascent brings the site's various levels indoors.
• This is architecture that allows for both movement and rest,
arranged continuously from ground to roof, all in dialectic
with what is produced.
• Three of the floors are involved in the production cycle ,
starting at the third level and descending to the ground level,
where the finished products arrive ready for direct sale or for
loading onto trucks that enter on a road specially built for this
purpose.
- • The climb from bottom to top highlights the decreasing width
of the cantilevered floors in the large interior space while
also providing a continuous view of ongoing work and the
transformation of clay.
• This structure provides an extraordinary promenade built on
complex networks.
• It banishes the loneliness and monotony of the traditional
factory and evidences the individual autonomous actions
required for production, expressing the rhythms of the
various phases.
• It offers exchanges, relationships, and comparisons ,
encouraging an optimal stimulating life - work as an ethical
value.
Ceramic Factory - Exterior
-
• Soleri's bold design for the building
incorporates a facade of ceramic
elements set alongside glass.
• The large windows flood the building

with natural light while the ceramic
cones promote the factory's products
• The building serves a variety of

functions.
• It's a residential space, factory and

showroom all in one.
Construction
-
• The pillars already cast
and the first sections with ~~...,,
ceramic cones have been
installed.
• In th is image, the building

frame is nearly finished ,
and the entire fa9ade is
ready for the mounting of
more ceramic cones and
glass panes for the
windows.
The Factory
-
• Visitors enter the factory on ground level where they can
look at various ceramic products.
• Then, to reach the

top level , which
Soleri conceived
as a public
exhibition space
between sky and
landscape , the
guests climb up
the spiral ramp .
- • On the way up all phases of production and the activities
that go on in the factory are visible.
• In the left corner of this photo collage, a man is putting a
final glazing on plates.
• In the right corner photo, taken from the second level,
people are hand-painting ceramic objects.
-
• The bottom images are from the third and fourth levels,
where clay is molded in various shapes.
• On this last section of the ramp more Solimene products

are exhibited.
-
• The interior is tied together by a
spiral ramp, which allows clay to
travel downward through the
various stages of production
into the gift shop below.
The Residence
- • Paolo Soleri was asked to incorporate a residence in the design for
the Solimene Ceramics factory.
• He positioned the residential space on the roof level of the main

building.
• In th is photo, the
residence is visible above
the top left corner of the
main structure.
• Located five floors above
ground level, the house opens
up to marvelous views
towards the sea on one side
and the mountains on the
other.
• The exterior walls of the

house have been decorated
with red and green ceramic
cones, replicating the pattern
on the front f as;ade of the
factory.
-
-
5EZIONE T~A
Utopian Ideas
- First described as a fictional island society in
Greece by Sir Thomas More in l 51 6, the
word "utopia" has evolved to mean any
community with a visionary system of political
and societal perfection-cities that function to
improve the daily lives of their citizens.
Some utop ian visions focused on new

technology, others on open, untouched
landscapes, and still others were based on
new social orders, but all were united under
radically avant-garde and cutting-edge
architecture.
Paolo Soleri-Utopian Architecture
- While many modernist utopian plans sought to reconnect city life with
nature by building towering buildings in the middle of ample green
space, visionary architect Paolo Soleri envisioned a more seamless
integration of the two(buildings and green space).
Soleri conceived "arcology", a term that literally fuses architecture
with ecology.
Designing under this new principle, Soleri drafted numerous utopian
buildings that brought nature into every aspect of urban life to
help cities densify while lessening human impact on the
environment.
Arcology was Soleri's antidote to the inherently wasteful, inefficient,
and resource-consuming effects of urban sprawl, a reality that the
architect believed manifests an unhappy lifestyle of physical
isolation in today's American cities and suburbs.
Arcosanti
- • In l 970, Soleri established Arcosanti, a continuously developing
experimental community in Arizona based on the principles of
arcology.
• Each year flocks of Soleri-advocates come to Arcosanti to pursue
and explore theories of the compact city and alternatives to urban
sprawl.
Design Principles
-
PROXIMITY (24/ 7 Mixed-use Continuum)
Arcosanti's design provides an efficient and lively urban environment by physically connecting a mix of
activities such as living, working, learning a nd leisure.
•efficient and equitable access
•immediate access to open space and nature
URBAN-HUMAN SCALE (Pedestrian Environment)

Human scale is generally recognized as physical proportion we can personally relate to.
Urban sca le results from having a densely organized human environment.
However, when dense and efficient urban spatial arrangements are adopted for pedestrian (and cyclist)
mobility, such robust three-dimensional living can become human scale once again.
ECOLOGICAL ENVELOPE (Bounded Density)

A major tenet of Arcology req uires that in order to susta in the hea lth of a city, we define the ecologica l
envelope as the carrying capacity of the environment containing our human activities.
O pposed to spra wling development, the Arcosanti p roject means to "inte riorize" itself by designing an urban
condition with strict boundaries.
LESS CONSUMPTION (Embodied Efficiency)

By applying appropriate technologies such as passive climate control systems, innovative water/ sewage
treatment systems, and using proper green building materials and recycling technology, the effort results in
less mate rial a nd energy consumption within the community.
- ENERGY APRON (Energy and Food Nexus)
Urban agriculture reduces our ecological footprint by bringing food production closer to the habitat where
consumption occurs.
In a dd ition 10 open field cultivation, a terraced g reenhouse, Arcosanti's Energy Apron, is intended to
extend the g rowing season and provide diversified cro p s within its stratified micro-cl imate cond itions.
This productive environment substantia lly red uces the amount of water required 10 grow food a nd, in
addition, provides ra inwater reclamation o pportunities, while diverting excess heal to upper structures for
space heating when needed.
Arcosanli a lso actively seeks less polluting renewable energy production systems such as solar, wind etc.
ELEGANT FRUGALITY (Creative Resourcefulness)

"Doing more with less" is certa inly the goal of the pro ject; much of ii is achieved by using whatever
materia ls happen to be available.
To accomplish "lea nness" requires actual creative resourcefulness.
EDUCATIONAL OPPORTUNITIES (Environment as a Learning Asset)

The design of Arcosanti's surroundings is meant to tra nslate into educational opportunities.
Built Environment
- l. Crafts Ill 8. Amphitheatre
2. Ceramic apse 9. Sky Suite
3. Foundry Apse l 0. East Crescent
4. East and West Housing l l . Solerie office drafting
5. Vaults unit(SOD)
6. Lab Buildings l 2. Swimming pool
7. Solerie music center l 3. Green house guest room
Crafts Ill
- A multi-use structure, it is
primarily the Visitor's
Center and provide
housing on the first level,
a Cafe on the second level,
a Bakery on the third floor
.
mezzanine,
and a Gallery on the fourth
level.
Rooms Gallerv Cafe

Ceramic Apse
- An apse is an architectural term for a quarter sphere.
Built between l 971 and l 973, the Ceramics Apse serves in the
production of ceramic wind bells and tiles at Arcosanti.
the amphitheatre terracing, and the removable stage that can be

erected over the slip bins combine to provide an excellent
performance space.
Foundry Apse
- Initially designed with one level of housing, site excavation suggested
a double level organization and the structure was modified to
include an additional ring of housing units encircling the rear of
the apse.
Exhaust heat from the foundry furnace, ducted through the living
areas and stored in concrete heat sinks, contributes to the heating
needs d uring the winter.
Directly south of the Apse, an extended platform and shades are
ad ed
East and West Housing
East Housing and West Housing have been used as
shared housing.
The construction process was a combination of
poured-in-place concrete and precast panels.
The vaulted ceilings are decorated with large silt
cast designs and the bathroom floors are done
with ceramic tile murals made on site.
Vaults
- The first structure bui lt on the Arcosanti
Mesa, the South Vault provides a large
open work area protected from the
summer sun.
Adjacent to the Vault, rooms were bui lt,
which now serve as a landscaping
"shed" on the east side and a
convenience store, Arcomart, on the west
side.
The Vault area serves as a space for large
work projects, performances,
celebrations, large meetings and as a
shaded area for outside summer
activities.
East Crescent
- The East Crescent Complex consists
of many structures:
•Soleri Office Drafting (S.O.D.) Unit
•Colly Soleri Music Center
•Amphitheatre
•Sky Suite
The rest of the crescent consists of ten living and working units
surrounding the Amph itheatre(currently under construction).
the East Crescent will provide housing for approximately 60 Residents.
Its multi-level units will be used also for studios, offices, overnight guest
rooms, a gallery, and possibly a movie theatre.
All 1 0 entrances face a central courtyard/market and amphitheatre,
while the back side is lined with patios and courtyards.
East Crescent
-
-
Solerie Music Center
- The outdoor amphitheatre seats 500
people for performances, conferences,
and activities;
there is an intimate backstage lounge
inside which has a view of the opposite
mesa as a backdrop.
The concrete terraces which form the roof
are known as the "Sky Theatre".
Amphitheatre
- It hosts a series of public musical events throughout the summer months,
and is occasionally rented out for private functions.
It is the heart of the East Crescent complex.
emphasise the mixed-use proposed by the arcological concept -living,
producing, performing, and exhibiting in this case.
periodic exhibits and markets taking place in the Amphitheatre
Sky Suite
- The Sky Suite at Arcosanti is a two
bedroom apartment rented by
reservation to overnight guests.
The extensive use of glass in the living

area takes advantage of the
fabulous view this third floor
apartment provides.
It overlooks the Sky Theatre of the

Colly Soleri Music Center, a great
place for star gazing.
Soleri Office Drafting Unit (SOD)
-
The Soleri Office Drafting (S.O.D.) Unit, is a three level
office, housing and studio complex
The interior finishing work of the administration and
drafting was completed in 1 980.
The top floor was used as Soleri's residence and

drafting studio.
The middle level houses the Cosanti administrative
office, drafting and graphics studios, an attached
greenhouse and a senior staff residence.
The bottom level features a meeting room (Red Room)

with an attached greenhouse for passive solar heating
in the winter and administrative offices.
Green house guest room and Swimming pool
-GREEN HOUSE GUEST ROOM

The build ing itself consists of l 2 rooms
and accommodates Special Seminar
participants and visitors.
SWIMMING POOL
Overlooking the Agua Frio River valley
and cradled in the basalt cl iff, the pool,
25 m long, provides a dramatic setting
for summer swimming.
Arcosanti
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ARCHITECTURAL SYLE: Nordic Classical

Discontinuous glazing on all four sides at

This building houses a restaurant and a coffee

•· Cartouches to decorate the stuccoes wall

The auditorium, that

FIRST FLOOR PLAN

View from balcony

···----.~----~ First lloor plan

• Bedroom windows project out

Sculpturally elaborate fireplace

Rattan - wrapped columns

To enter this inner sanctum, columns are

• Eero Saarinen was an American

• He was famous for his varying

• The terminal ceiling is suspended in an

• The main terminal is a very

The interior of the arch also contains

Each, in the event of a need to

The tram system

Ramp starting at either base.

Platform at the top of the arch reached

and stairways with 1,076 steps in each

The elevators and stairways are for

X4-!-- - """' _ -----4-_.,,

FIGURES SHOWING CONSTRUCTION OF

· In a t ime when many modern buildings

Designed by Japanese American architect

Up until it's unfortunate demise, the WTC site

o A transportation and shopping concourse located under the plaza provided

o Yamasa ki used narrow windows.

o The exterior columns we re extruded l 2

o Towards the base of the buildings, each

o Aluminum alloy was used in the fa~ade of

o The structure is has a rectangular footprint

o A wide round arch, resting on an

o The glass used in the entrance is a special

o Windows on floors 3 through 43 are

o The groupings are divided by larger piers

o The fa~ade is covered in white aluminium

o Tange was also an influential patron o f

Metabolically designed architecture is built around a spine-like infrastructure with

· The complex consists of 2 build ings,

· Tange used exposed concrete, metal and

o Cables describe a parabolic curve from which smaller wires are

•The rhythm is a lso app lied at the

The space is organized around two non-concentric

Unlike the main gym, this has only one structural

•A small square precedes the gym, landscaped with

•The skylight of the roof was also replaced by an

that has been assigned to the location of the

o Throughout his career, Breuer retained his

o His interest in construction and materials, and

o Originally meant for housing social reunions,

o The Ariston Hotel is an icon of modern

o This rounded volume is elevated on 4 pillars,

o This rounded volume is elevated on 4 pillars,