GORESH SAINI 1999005 UNION TRUST BUILDING ASSIGNMENT - 1

PROJECT -- Union Trust Building

LOCATION -- Pittsburgh ,PA
ARCHITECT -- Elkus Manfredi Architects
CLIENT/OWNER -- The Davis Companies
PROJECT TYPES -- Commercial , Community , Hospitality , Office
PROJECT SCOPE -- Preservation/Restoration
SIZE -- 667,000 sq. feet
AWARDS --2017 AIA - State/Regional Awards , 2017 Historic Preservation
Award, Local , 2018 Chicago Athenaeum

• Built in 1918 in the heart of downtown Pittsburgh, Pennsylvania,

the Union Trust Building originally opened as a spectacular mul-
ti-level shopping arcade with shops on the lower levels and offices
above.
• The ten-story building, designed in a cruciform shape split into
quadrants by cross-axes emanating from a central rotunda, features
a grand atrium topped by a Tiffany-inspired glass dome measuring
40 feet in diameter. At the ground-floor lobby, designers created a
dramatic entry and meeting space for the offices above, while faith-
fully restoring and respecting the original historic building.
• Prior to the renovation, the atrium was bare and dimly lit. Now
transforme`d into a grand arrival space, it features a total of 19,060
square feet of richly hued, hand-tufted New Zealand wool custom
carpeting.
• In the lobby, the carpet pattern reflects the design of the dome
above. As one ascends through the nine open levels, the carpet
changes color, gradating from blue on the ground floor to gold/am-
ber on the top floor.
• A custom-designed bronze concierge desk, lobby bar, and inviting
seating throughout the lobby were added, as well as 30 pieces of
original art commissioned for the building, many using Pittsburgh
and the Union Trust Building as their subjects.
FRANK LLOYD
WRIGHT
THEORY OF DESIGN
GORESH SAINI – 1999005
ASSIGNMENT-2
INTRODUCTION

Frank Lloyd Wright, original name Frank

Wright, (born June 8, 1867, Richland Center,
Wisconsin, U.S.—died April 9, 1959, Phoenix,
Arizona), architect and writer, an abundantly
creative master of American architecture.
His “Prairie style” became the basis of 20th-
century residential design in the United
States.
During a career that spanned seven
decades, he took full advantage of the
opportunities presented by the
unprecedented scientific and technological
advances of his time without losing the 19th-
century spiritual and romantic values with
which he had grown up.

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Throughout his long and prolific career,
Frank Lloyd Wright brought American
architecture to the forefront. His visionary
creations were strongly influenced by the
natural world, and he emphasized
craftsmanship while embracing technology’s
ability to make design accessible to all.
Wright was also highly involved with the
interiors of his buildings, creating
furnishings and other custom elements such
as stained-glass windows to enhance the
overall design.
His most iconic structures, such as the
Solomon R. Guggenheim Museum in New
York and Fallingwater in Pennsylvania, are
now designated as historic landmarks and
attract visitors from around the world.
Explore the modern architect’s most
celebrated structures from coast to coast,
including many of his amazing residential
projects.

3
 FALLINGWATER
HOUSE

Believed by many to be in retirement if not dead by the late

1930s, he took the world by surprise with Fallingwater.

DESIGNED IN 1934-1935
BUILT IN 1936-1937
LOCATION- PENNSYLVANIA, UNITED STATES
INTRODUCTION

• This building, constructed over three levels,

sits on a rock over a natural waterfall.
• It’s composition is horizontal, though
somewhat complex.
• The vertical axis is defined by the chimney,
which towers over the roof.
• The building grows from inside out and
extends according to the needs of its
inhabitants.
• In this way, it can be modified, as in organic
architecture the construction is conceived
as a living thing and can alter its form.
• Each level is marked by wide projections
which protrude asymmetrically in various
directions

5
• In reality, they are terraces limited by
smooth concrete plates. In creating this
impression, Wright was inspired by
Japanese architecture.
• The exterior of the house maintains an
intimate relationship with the surrounding
nature.
• The architect decided to employ natural
materials- wood, brick, rock- with which he
achieved an impressive integration
between the building and the forest which
surrounds it.
• The habitability of the interior was what
truly preoccupied the architect.
• The interior space had to be light and
spacious, and so he set out to avoid
limitations as much as possible.

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• The large living room has a glass wall
which allows those inside to enjoy the view
of the waterfall, as well as hearing its
relaxing murmur.
• The use of large windows eliminates the
separation between rooms and their
terraces.
• Amongst other purposes, they reflect the
natural light and project it, indirectly,
toward the interior.
• The upper terrace gives the house a more
intimate character.
• With this work, Wright achieved the
maximum freedom of expression, while
maintaining harmony with the
surroundings.

7
• The integration of water, trees, rocks, sky
and nature throughout the house closes off
a certain romantic vision of the house, but
opens up a new spatial-temporal dimension
for man’s refuge.
• The materials used for the construction of
this house were: concrete, rough stone,
local stone, wood and steel.

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 LOCATION
The house is located on a huge plot of land in the middle of the wild Pennsylvania
forest. The forest of deciduous trees remains almost completely untamed, interrupted
only by a discreet pedestrian access which is the only way of reaching the house. The
plot on which the house ended up is also surrounded by the “Bear’s river”.

9
CONCEPT
• The design of the house is a clear example of
naturalist architecture, as all the decisions taken in
its construction were alongside the integration of
the building with the countryside.
• It was intended that the work be converted into
another natural element of the surroundings, in full
harmony with it and with the passing of time.
• From the terrain of the site, they extracted rocks
which formed the masonry of the lower parts of the
house’s façades, co-located to create a progression
from the natural rock of the ground to the cement of
the upper parts.
• Another contrasting element of the house are the
orthogonal forms of the projections and the walls,
instilling in house a sense of “architecture”.
• The building maintains a relationship with the
surroundings which comes from a respect for and
adaptation to the environment.
• As such, the foundations of the house are rocks of
the place, and some are even found beyond the
boundaries of the first floor, leaning next to the
chimney. A large part of the house is cantilevered,
hanging over the river.
• It has several windows which also stretch
vertically and which pass from one floor to the
next, thus demonstrating the different levels. This
vertical nucleus is the “heart” of the Fallingwater
House.
• On the North face of the house, the opposite of that
which “flies” over the river, there are two
pergolas, like awnings, which run from the
exterior wall to a stone incline and hang over the
path which leads to the entrance. This spot is
known as the “forest of the house”.
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• Two pergolas form an arc which goes around the
trunks of two trees. This means was utilized by
Wright to make clear the respect for nature with
which he designed the house.
• The shadows cast by the pergolas resemble those
of the tree trunks; an effect which makes the
shadow of the house fade into those of the trees. On
the ground of the terrace outside Mr. Kaufmann’s
office, two holes were intended to be left so that the
trees could pass through them.
• However, as the trees died during the construction
of the house, no such apertures were made.
• Wright’s engineers were not confident that the
structure would support itself and asked Wright to
reconsider his plans. His pride allowed him to back
down only enough to agree to a number of metallic
pieces which supported the cantilever, which
remains intact following the effects of a tornado.
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 SPACES
• In the interior of the Fallingwater
House we find rooms which are
unique in their distribution, location
and finishes.
• On entering the house by the main
entrance, situated at the North face,
we arrive at a small room which
acts as a reception, located under
the stairs which lead to the second
floor.
• Past that room is the living room,
the largest public room of the
house from which there are
splendid views of the woods which
surround the house.
• On entering, we are faced by the
“music corner”, whose etymology is
unknown, to the right is the sofa
area and behind the “music corner”
is the “staircase of water”, so called
because it leads down to a small
platform beside the river.
• To get down there, you must open
the sliding glass screens. The steps
of the “staircase of water” are
suspended from traction cables,
attached to the first slab.
• The walls of the living room, like
those of the rest of the house, are
the same as the exterior ones, with
parts of masonry made from the
extracted stone.
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• The floor is brown stone and the
ceiling has a pattern which goes
round the integrated light fittings,
designed specifically for this house.
• On entering the dining room, on the
right hand side, is the chimney,
surrounded by natural stones which
emerge from the floor.
• On the left is a “wine ball”, a red,
spherical container fitted with a
handle on a hinge, that allows you
to place it over the fire to heat the
drink inside.
• On both sides of the room a door
leads onto a terrace.
• The one on the East side is next to a
small exterior staircase which
leads to the terrace of the
Kaufmann’s son’s bedroom.
• To the left of the chimney, a door
leads to the kitchen; a smaller
room than the living room with
furniture exclusively designed by
Wright for the house, as was the
case for the rest of the furniture
also.
• Between the door to the kitchen
and the staircase is the dining
table, placed against the North wall
of the dining room.
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• On the second floor, there are two
bedrooms, two bathrooms and Mr.
Kaufmann’s office, as well as three
terraces and the stairs which lead
to the lookout on the third floor. On
this floor, you pass along a small
corridor from which the rooms are
distributed.
• The chimney appears in the master
• The Kaufmann’s son’s room is
above the “music corner” on the
first floor and has a small
bathroom. To the East of this
bedroom is the boy’s small,
• On the West wall of the office there
individual terrace, from which there
is a small exterior stairwell leading
to the first floor.
• Above the sofa area of the living
room, there is the master bedroom,
which has a small bathroom and an
expansive terrace, which extends,
cantilevered towards the South. In
the West part of the second floor is
Mr. Kaufmann’s office.
bedroom as well as the office. In
the last room there is a window
which extends down to the kitchen
below.
is a door which leads to the terrace,
through which two trees were
originally intended to grow.
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CONTRUCTION

• The majority of the house’s structure is

made of concrete, with exposed columns
and beams forming porticos and the
projections (the horizontal elements which
extend as terraces over the waterfall) all
made of concrete.
• Some walls and other vertical elements
which define the spaces of the house, as
well as the floors, were covered in the local
stone.
• Some details of the house can also be seen
in steel and others in wood.

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DRAWINGS

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17
18
ROBIE HOUSE

ARCHITECT: FRANK LLOYD WRIGHT

YEAR: 1908-1909
LOCATION: 5757 WOODLAWN AVENUE,
CHICAGO, ILLINOIS, UNITED STATES
INTRODUCTION

• The last and best of the houses in Wright’s

prairie era, the Robie House, seems
designed for a plain, rather than the narrow
corner lot where it is located in Hyde Park,
a suburb of Chicago.

• At the time it was built, its elongated

horizontal profile seemed an exceedingly
strange appearance among its conventional
and vertical neighbors.

• One reason for the huge success of this

house lies in the explicit requirements of
the customer.

20
• He wanted a house free of enclosed spaces
in the form of “blocks” for fire protection
and without the decorative elements, such
as curtains or rugs, etc.
• As an engineer, Frederick C. Robie wanted
a house that also functioned like a well-
oiled machine.
• That it is situated on an angular plot in
large part explains its form, which is very
similar to other “Prairie Houses”.

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 LOCATION
Robie house is located on a corner lot in the neighborhood of Hyde Park, near the
University of Chicago. More specifically, at 5757 Woodlawn Avenue, Chicago, Illinois.

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DESCRIPTION
• FOREIGN
THE HOUSE HAS NO FACADE, CONVENTIONAL WINDOWS, NOR A
PRINCIPAL ENTRANCE OR FRONT DOOR. IT OCCUPIES ALMOST THE
ENTIRE PLOT; WHAT LITTLE FREE SPACE LEFT IS INCORPORATED IN THE
OVERALL COMPOSITION WITH DECORATIVE WALLS AND GARDENS. THE
HORIZONTAL FEEL OF THE EDIFICE IS REINFORCED BY THE WINDOW
SILLS AND STONE THRESHOLDS, AS WELL AS BY THE THIN MORTAR
JOINTS OF THE BRICK WORK.
• COMPOSITIONAL METHOD
THE METHOD OF COMPOSITION WRIGHT UTILIZED AT THE TIME
CONSISTED OF ORGANIZING SYMMETRIC FORMS IN ASYMMETRIC
GROUPINGS.
THE BASIS OF THE COMPOSITION IS A LONG TWO-STORY BLOCK, WITH
APPARENTLY SYMMETRICAL PORCHES, EACH FEATURING A SLOPED
ROOF, AT EACH END. ON THE FIRST FLOOR OF THE SOUTH FACADE,
WHICH FACES THE STREET, THERE IS A ROW OF LARGE DOORS
OPENING ONTO A LARGE BALCONY THAT PROJECTS OUTWARD FROM
THE HOUSE. THE BALCONY PROVIDES SHADE TO A SERIES OF SIMILAR
WINDOWS ON THE GROUND FLOOR.
• THE SYMMETRY IS AN ILLUSION, BECAUSE THE ELEVATED TERRACE
OF THE WESTERN END OF THE HOUSE IS BALANCED BY THE WALL
OF THE COURTYARD TO OPENING TO SERVICE THE EASTERN END.
BUT IT IS ONLY ONE FACTOR IN A MORE COMPLEX EQUATION.

• ABOVE THE MAIN BLOCK, THE SECOND FLOOR FEATURES

BEDROOMS WITH WINDOWS AND COVERED BALCONIES, CREATING
THE CONFLICTING DYNAMIC THAT SETS THE ENTIRE COMPOSITION IN
MOTION. ON ONE SIDE EMERGES A LARGE VERTICAL CHIMNEY THAT
ANCHORS ALL THE HORIZONTAL LEVELS BELOW. FURTHER, AT THE
EASTERN END OF THE BUILDING, A SLOPING DECK COVERS A WING
DEDICATED TO A 3 CAR GARAGE AND SERVICE PERSONNEL
ENTRANCE.
CONCEPT

• THE HOUSE WAS DESIGNED FOR FREDERICK C.

ROBIE, A BICYCLE MANUFACTURER, WHO DID NOT
WANT A HOME DONE IN THE TYPICAL VICTORIAN
STYLE. ROBIE DESIRED A MODERN FLOORPLAN AND
NEEDED A GARAGE, AND A PLAYROOM FOR
CHILDREN.
• HE ALSO REQUIRED THAT HIS HOME BE FIRE-
PROOF, YET RETAINED AN OPEN FLOOR PLAN FREE
OF CLOSED, BOX-LIKE ROOMS THAT WOULD
PREVENT THE UNIFORMITY OF DECORATION AND
DESIGN.
SPACES
• Wright rejected the popular view that indoor spaces
should be closed and isolated from each other.
• In contrast, he designed the house so that the space
in each room or hall was open to the other, so that
the feeling in the house was one of immense light
and space.
• To differentiate one area from another, Wright
resorted to lightweight divisions or different height
ceilings, avoiding unnecessary solid room divisions.
So Wright was the first to establish the difference
between “defined spaces” and “closed spaces”.
• The significance of Wright design of the Robie House
is that he neglected the conventional ideation of a
house as a box containing smaller “boxes” for
rooms.
• By contrast, the interior space is fluid and
transparent, allowing the entry of light without
obstructing the view
• This “explosion of the box” produces the effect of
walls unfolding to reveal large, vast spaces. The
floor composition is based on two adjacent
horizontal bars that are mixed in a central space,
anchored by the vertical column of the fireplace,
around which the rooms are arranged and
interconnected.
• The design draws on the wide terraces and eaves
to achieve a solid and strong, yet lightweight and
hollow appearance. This concept of eaves and
large terraces was used later by Wright in the
Fallingwater House.
• The house is divided into two wings, keeping the
public areas toward the street and the service
areas near the innermost sections of the house.
26
GROUND FLOOR
• A game room and billiard room
make up this level, separated by
a fireplace. In both spaces,
Wright chose to showcase the
system of structural beams in the
ceiling, to give a greater sense of
altitude to the rooms.

• This level also houses the utility

equipment, laundry, pantry space,
and a 3-car garage. Access to the
house is at this level, with access
to the main living area via stairs.

27
FIRST FLOOR • The second floor of the house is
composed of the kitchen and the
servants’ quarters.
• But undoubtedly the most
interesting rooms are the living
and dining rooms, separated by
the fireplace, but visually
connected.
• These rooms feature a wide
space without walls that obstruct
the visual from the outside, which
recalls the vast spread of the
prairie and at the same time
allows the diffusion of light from
the inside.
• However, the eaves are designed
such that they protect the
inhabitants privacy from prying
eyes in the street.

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• Here, climb the central staircase, which leads to one • On both ends of this space the two long galleries
of the most famous domestic interiors of the
form triangular areas that are more intimate, for
twentieth century: a large loft, long and low, as the
living room of a boat, gaily lit by skylights opening to relaxing or eating.
the noon sun. • These spaces are barely visible from the outside
due to the intense shade thrown by the extensive
• The space is divided into two areas, the living and flying eaves.
dining areas, which symbolize the most familiar
elements of living and roots the house to the earth. • These decks could not be built in wood, in fact,
they are held by two hidden steel beams that
• The chimney, which has a massive presence in the extend the length of the main block.
central space, is not an obstruction since it is
possible to maintain the continuity of the roof
structure around a central opening.
• In turn, the ceiling is divided into panels, each
equipped with two types of electric lighting: glass
globes on each side of the higher central zone and
bulbs hidden behind racks of wood, in the lower side
zones.

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SECOND FLOOR

• The bedrooms are at this level,

overlooking the house in a sort of
tower-style.

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MATERIAL
• THE HOUSE IS CLAD IN ROMAN BRICK AND
LIMESTONE.

• TO ACHIEVE THOSE ENORMOUS EAVES, WRIGHT

PIONEERED THE USE OF STEEL IN THE
STRUCTURE OF THE HOUSE BY USING TWO MAIN
BEAMS THAT RUN LENGTHWISE ALONG THE SAME
AXIS AS THE FIREPLACE. WRIGHT CHOSE TO
COVER THE SIDES OF THE BEAMS, LEAVING A
HIGH CEILING AREA IN THE CENTER, WHICH HAS
THE EFFECT OF CREATING THE ILLUSION OF VAST
VERTICAL SPACE.

• THE USE OF WOOD STRIPS ARRANGED

PERPENDICULARLY TO THE DIRECTION OF THE
ROOM AND RHYTHMICALLY PLACED LIGHTS
REDUCE THE FEELING OF A LONG NARROW
SPACE. TWO ANGLED ROOMS AT THE ENDS
FURTHER REINFORCE THE IDEA THAT SPACE IS
EXTENDED OUTWARD.
THANK YOU!
•

•
•

• HOWEVER, OF THE THREE YOUNG ARCHITECTS AT BEHREN'S PRACTICE, GROPIUS

WAS THE FIRST TO PUT HIS MODERNIST IDEAS TO WORK. IN 1911, HE AND ADOLF
MEYER DESIGNED THE FAGUS FACTORY, A GLASS AND STEEL CUBIC BUILDING
WHICH PIONEERED MODERN ARCHITECTURAL DEVICES SUCH AS GLASS CURTAIN
WALLS, AND WAS BUILT FROM THE FLOOR PLANS OF THE MORE TRADITIONAL
INDUSTRIAL ARCHITECT EDUARD WERNER.
•

•
•

•
• THE BAUHAUS ARCHIVE IS LOCATED IN AN AREA STILL
UNDER DEVELOPMENT WITHIN THE URBAN STRUCTURE,
ALTHOUGH THERE ARE MANY INTERESTING BUILDINGS IN
THE VICINITY, SUCH AS VON DER
HEYDT FILE OR
MONUMENTAL GRAND HOTEL ESPLANADE, ON THE
OPPOSITE BANK.

• ITS EXACT LOCATION IS: KLINGELHÖFERSTRAßE 14,

TIERGARTEN, BERLIN, GERMANY
• WALTER GROPIUS DREAMED DRAFT A PERMANENT
ARCHIVE BAUHAUS FOR MANY YEARS BEFORE BEING
COMMISSIONED THIS PROJECT.

• GROPIUS COULD ONLY IMAGINE THE FILE AS AN

INDEPENDENT ENTITY UNRELATED TO ANY OTHER MUSEUM
BECAUSE OF THE INNOVATIVE NATURE OF THE SCHOOL HE
FOUNDED. HE BELIEVED THE PROJECT WOULD “CAPADO”
BY THE LACK OF PEOPLE OUTSIDE THE SCHOOL IF THE FILE
IS FORMALIZED AS A DEPARTMENT OF ANOTHER
INSTITUTION MORE CONSERVATIVE.

• YEARS BEFORE THE FILE WAS EVEN A DREAM GROPIUS

BUILDING DESIGN IDEAL TO HOST SUCH AN INSTITUTION.
THIS PROJECT SERVED AS A BASIS FOR BUILDING THE FINAL
BUT SUFFERED SIGNIFICANT CHANGES DUE TO
DIFFERENCES ARISING FROM THE LAND TRANSFER
LOCALITY.
IN THE NORTH LIE THE ADMINISTRATIVE SECTIONS AND WORK
AREAS IN THE SOUTHERN SECTION OF THE EXHIBITION HALLS.

EXHIBITION HALLS
• IT HAS 800 SQUARE METERS 400 FOR PERMANENT
TO
EXHIBITIONS AND TEMPORARY. THE NEW EXHIBITION
SPACES ARE ALMOST UNDERGROUND. THE COMPLEX
ALSO HAS A SHOP, A CAFE AND SPACE FOR SUPPORT.

• THE ROOF OF THE CAFE HAS A SHELL AND IS ONE OF THE

FEW SPACES AT GROUND LEVEL, OPENING INTO THE
PLAZA IN FRONT OF THE EXISTING MUSEUM.
• THE COMPLEX CONSISTS OF TWO TWO-STORY STRUCTURES
THAT ARE EACH NEARLY EQUAL AND PARALLEL TO EACH
OTHER, UNITED BY A MIDDLE SECTION AND
COMMUNICATE WITH EACH OTHER BY CORRIDORS AND
SOMETIMES DISAPPEAR UNDER THE STRUCTURE OF THE
BUILDING AND SEE THE LANDSCAPE CAN EMERGE.

• THE CHARACTERISTIC FEATURES OF BOTH STRUCTURES ARE

THE ROWS OF 4×4 METERS HIGH CEILING OF THE BELLS,
CLOSELY ALIGNED TO THE NORTH FACE, FOR BETTER
LIGHTING.

• THE FRONT MOUNTED ON A REINFORCED CONCRETE

FRAME IS DIVIDED INTO INDIVIDUAL SECTIONS
HIGHLIGHTED BY DARK JOINTS BETWEEN CONCRETE
PANELS PAINTED WHITE.
•

•
•

•
•
LUDWIG MIES VAN DER ROHE

THEORY OF DESIGN

NEW NATIONAL GALLERY

ANUDESH SAINI 1999001

GORESH SAINI 1999005
INTRODUCTION
• It’s difficult to imagine what the skyline of
Chicago might look like without architect
Ludwig Mies van der Rohe.
• He influenced an entire generation of
architects while tenured as head of the
architecture department at the Illinois
Institute of Technology (IIT).
• During his 60-year career, Mies
established a design vocabulary that
helped define Mid-Century Modern
architecture.
• Mies did not design buildings with a
particular style in mind. For him, the
philosophy came first. How a building
looked was purely an expression of its era
and its materials.

2
▪ When Mies arrived in the United States
in 1938, he was already internationally
known and established in his field.
▪ He designed one of his most famous
buildings—the Barcelona Pavilion—as
the German Pavilion for the 1929
International Exposition in Spain.
▪ It’s a magnificent example of his
trademark emphasis on open space.
Soon after that success, he served as
director of the Bauhaus, the school of
design in Germany.
▪ He elected to close the school in 1933
and eventually left his home country due
to mounting pressure from the growing
Nazi regime. 3
▪ From 1939 to 1958, Mies served as head
of the architecture department of IIT,
where he not only redesigned the
department’s curriculum but also the
university’s campus.
▪ A year after his appointment, he
developed plans for the recently
expanded 120-acre campus.
▪ Mies designed a collection of buildings
with steel and concrete frames wrapped
in brick and glass curtain walls, including
his masterpiece: Crown Hall. The campus
was revolutionary at the time, and it
perfectly expressed Mies’ design
principles and “less is more” approach.
4
NEW NATIONAL
GALLERY
Address: Potsdamer Straße 50,
10785 Berlin, Germany

5
INTRODUCTION
▪ The Neue National galerie (New National
Gallery) is the latest work of renowned
architect Mies van der Rohe, who died
shortly before his inauguration, and first
performed in Berlin, his hometown.
▪ Here are clearly legible patents and the
principles and how to work the architect,
where the concept of “less is more”
becomes absolutely meaningless.
▪ It is one of the most symbolic of the
search and refined elegance of the
conceptual simplicity and constructive.

6
 • It is located in a central position and very
accessible in Berlin as part of the area called
Kulturforum, south of the Tiergarten and west
LOCATION of Potsdamer Platz, next to the Philharmonic.

• Among the streets around the ground, there is

a significant gap.

7
CONCEPT
• The building is read as a steel and glass that rises on a stone plinth, generated by the difference in
levels of the street.

• It is a steel structure, severely geometric, which governs the form throughout the building as a
computer, since its overall scale, the smallest detail: the deck – support – enclosure. Although this is
not presented as a building block, but it is quite flexible.
• Is distributed on two floors of exhibition: an underground facility that is the socket, and a floor
which is the flag transparent, totally free, which is supported by eight columns and leaves open the
four corners, so the building becomes much lightness. Here is a clear separation between the
structure and envelope defining element of the space, because the enclosure is removed from the
cover boundary and the line of columns, creating a gallery around the flag. Visually, it’s almost a
piece of esplanade covered.
• These features make it very different from a closed to generate a large open space, glass, open and
versatile.
8
 SPACES
• The building is located in a vast esplanade of different levels, which are worked with great skill
and sobriety, where a small operation to break the monotony. Large sculptures are presented
here Calder and Henry Moore.

• The flag is raised on the esplanade that is a base or platform. Is at the street level and is
completely free, only interrupted by two groups of vertical and communication services, and
closed by a glass skin. However, under normal conditions, contains elements of walls that vary
with the different exhibits and limiting the visual continuity. Access to the building is for this
level, which serves as atrium, which also presents temporary exhibitions.

• The lighting takes big role in these spaces. Natural light enters the glass walls and is reflected
in the glossy black polished floor. The roof, built with a network of dark metal beams, is
decorated with long rows of LCD screens that transmit continuously abstract patterns.
9
• The unusual lighting in the room prepares the visitor for a new look at the art houses. At the
same time, the simplicity and thoroughness geometric rectangular transmit a sense of
tranquility and serenity, achieving a balance.

• The main exhibition halls where the permanent collection, are at a lower level than the street,
buried in the platform. In the rear, the rooms are closed with a skin of glass in front of a
sculpture garden.

10
STRUCTURE
▪ This is a great cover 64.8 square meters
in length, supported by cross-8 support
in its perimeter, 2 on each side, with the
corners cantilever.
▪ The roof is made up of a web of steel
beams.

11
 • The material is a key issue. Steel and glass out
on site.
• The entire structure is steel, worked with
MATERIALS absolute nobility, so that the elements are no
longer just something constructive to be
somewhat higher.
• The enclosure is made of glass with stainless
steel pillars.

12
DRAWINGS
LAYOUT PLAN

13
DRAWINGS
SECTIONS

14
DRAWINGS
ELEVATION

15
THANK
YOU!
Le Corbusier
Villa Savoye
THEORY OF DESIGN-2
INTRODUCTION
“Architecture is the learned
game, correct and magnificent,
of forms assembled in the light”
- LE CORBUSIER

2
SWISS-FRENCH MODERN ARCHITECT, URBAN PLANNER,
DESIGNER, SCULPTOR, PAINTER, AND WRITER.

• Born: October 6, 1887 - La Chaux-de-Fonds,

Switzerland
• Died: August 27, 1965 - Roquebrune-Cap-Martin,
France
• Movements and Styles: Modern Architecture, The
International Style, Purism, Brutalism
• Internationally influential Swiss architect and city
planner, whose designs combine the functionalism of
the modern movement with a bold, sculptural
expressionism.

3
• He belonged to the first generation of the so-called
International school of architecture and was their most
able propagandist in his numerous writings.
• In his architecture he joined the functionalist
aspirations of his generation with a strong sense of
expressionism.
• He was the first architect to make a studied use of
rough-cast concrete, a technique that satisfied his
taste for asceticism and for sculptural forms.

“I prefer drawing to talking. Drawing is

faster, and leaves less room for lies”

4
VILLA SAVOYE
“A house is a machine for living
in”

5
FIVE POINT OF ARCHITECTURE
1. PILOTIS
• Le Corbusier lifted the bulk of the structure off the ground,
supporting it by pilotis – reinforced concrete stilts.
• These pilotis provided the structural support of the house
and allowed him to elucidate his next two points.
2. FREE FACADE
• Non-supporting walls that could be designed as the
architect wished.
3. RIBBON WINDOWS
• The second floor of the Villa Savoye includes long strips of
ribbon windows that allow unencumbered views of the
large surrounding yard and constitute the fourth point of
his system.
• This is a strength to enjoy panoramic scenery while
complementing Western Europe’s climatic weakness,
which lacked sunshine.
6
4. OPEN FLOOR PLAN
• The floor space was free to configure into rooms
without concern for supporting walls.

5. ROOF GARDEN
• A functional roof serving as a garden and terrace,
reclaiming for Nature the land occupied by the building.
• A ramp rising from ground level to the third-floor roof
terrace allows for a promenade architecturale through
the structure.

7
Location:- Poissy,
Paris, France

8
CONCEPT
• The Villa Savoye was designed by Le Corbusier as a
paradigm of the “machine as a home”, so that the
functions of everyday life inside become critical to its
design.
• The movement of cars to enter the interior of the
house (a concept that empassioned Le Corbusier for
years) is the trigger for the design of the building.
• This concept also includes the fact that housing is
designed as an object that allegedly landed on the
landscape, is totally autonomous and it can be placed
anywhere in the world.
• Architecture followed the style of airplanes, cars and
ships, with the declared aim of achieving mass
production of housing.
• Pillars supporting the ground floor also advanced this
idea, and the independence of the Villa from its garden,
and was recognized as one of the key points of the first
generation of International Architecture.

9
SPACES

• The ground floor has a curved form that is influenced

by and emphasizes the movement of the cars in it.
• In the front of the house near the garage entrance is
the front door, in front of which there is a hall that has
two main elements:

1. a ramp that runs from the bottom up the entire

building that constitutes its backbone, prolonging this
movement from outside inward
2. and a spiral staircase

10
• Everything inside the hall is painted white,
representing the interests of Le Corbusier in
architecture, health and hygiene in an era in which the
city suffered the consequences of overcrowding in the
form of epidemics, and reflects the important
discovery of microbial life everywhere, including inside
homes.
• This point is also reflected in the profusion of toilets
and sinks inside the Villa, apparently well above the
needs and taking advantage of the running water on
which they counted.
• Further away from the entrance are three guest rooms
and service areas.

11
MATERIAL

• The materials used in the Villa Savoye is prosaic

materials; such materials were used during this time in
building houses for lower-class Parisians.
• Although the house is designed for the affluent,
plaster walls and iron handrails are used.

12
VIEWS

13
DRAWINGS

14
CONCLUSION

• In Conclusion, Villa Savoye was Le Corbusier’s

interpretation of modern architecture, a modernism
formula and pragmatic solution that could be applied
to every building design.

• The five points of architecture (comprising of the

pilots, the roof garden, free plan, the free façade, and
the horizontal window), the architectural promenade
and automobile comparison all come together in one
design to make the Villa Savoye a highly influential
building that further distinguished Le Corbusier as an
architect and influenced decades of both French and
international urban and architectural designs alike.

15
ThankYou
ANUDESH SAINI 1999001
GORESH SAINI 1999005
Alvar Aalto
The House Of Culture
THEORY OF DESIGN-2
INTRODUCTION
“Architecture belongs to culture,
not to civilization.”
- ALVAR AALTO

18
• Alvar Aalto was born in Alajärvi in central Finland and
raised in Jyväskylä.
• Following the completion of his architectural studies at
the Helsinki University of Technology he founded his
own practice in 1923, based in Jyväskylä, and naming it
Alvar Aalto, Architect and Monumental Artist.
• Although many of his early projects are characteristic
examples of 'Nordic Classicism' the output of his
practice would, following his marriage to fellow
Architect Aino Marsio-Aalto (née Marsio), take on a
Modernist aesthetic.
• From civil buildings to culture houses, university
centers to churches, and one-off villas to student
dormitories, the ten projects compiled here—spanning
1935 to 1978—celebrate the breadth of Aalto's œuvre.

19
THE HOUSE OF
CULTURE
HELSINKI, FINLAND

20
Sturenkatu 4, Helsinki 00510 Helsinki,
Finland.

It was declared a monument of

national history in 1989, and was
meticulously restored between 1990
and 1991.

LOCATION

21
CONCEPT
• Aalto considered various factors in his planning of the
house, which would encompass political, cultural,
social and administrative activities.
• The building was split into three parts: the auditorium
for concerts; the conference suite with the main hall
and rooms; and the office building.
• These three parts make up a U-shaped layout. In front
of them, a copper walkway provides access for the
visitors.
• The architect developed the project by lining up the
opposing buildings and manipulating distinctive
materials.
• The asymmetrical auditorium would be built from a
type of brick which would satisfy the acoustic function,
along with a copper roof.

22
• Both the form and its materials are dictated by the
functional needs as a concert hall.
• On the other hand, the office building and the smaller
wing housing the conference room would be designed
in reinforced concrete, clad in copper and wood.
• The great challenge in respect of this building would be
the reconciliation of modern architecture and its
technologies, with the traditions of Finnish
architecture.
• For example, Aalto made reference to the brick as an
organic material, considering a brick wall a primitive
object and defining it as a material which preserved the
local personality.

23
SPACES
The U-shape of the building is generated by two buildings:
the auditorium and the offices. The two are held together
by a large, green copper roof, and also by a walkway
which houses the other rooms. They are further described
below:
• Auditorium / Concert Hall- The main wing is formed by
the asymmetric auditorium and the concert hall, with
capacity for 1500 people, a restaurant and a small
basement cinema (now used as a meeting room).
• Office building- The office building has five floors and
includes: a conference room, offices and entertainment
suites.
• Main hall/ Conference Hall- The connecting wing has
an entrance hall and cloakroom, an auditorium for
conferences, three halls, five meeting rooms, a library
and a large gymnasium in the basement.

24
MATERIAL AND STRUCTURE
• The design challenge of the House of Culture was
presented during the modern period and in Finland
where the local architecture was customarily built with
local materials.
• Alvar Aalto decided to design the building in three
parts.
• He made the structure of the auditorium with annealed
red brick and reinforced concrete, while the offices and
the small wing were made of reinforced concrete, clad
in copper.
• The roof of the building is green copper, as is the
walkway which sits in front of the main entranceway or
courtyard.
• Aalto used a trapezoidal piece made of hollow red
brick, which has the required acoustic and moldable
properties to make the curved walls of the exterior, as
well as providing the necessary means to shape it.

25
• The interior walls are made of wood, allowing for
sound expansion, as well as absorption.
• In contrast, satisfying the needs of the Communist
party who commissioned the work, the office building
was made of copper-clad reinforced concrete, sober
and free of excess, the carpentry was designed in wood
for a warmer touch.

26
DRAWINGS
CONCLUSION

• Alvar Aalto was a part of the Modern Movement of

Architecture, but he created his own style from an
interpretation of modernism, focused on local
materials and functionality.
• He emphasized the use of wood for providing warmth
to his projects and a stronger connection with local
culture.
• He became famous for both his modernist buildings
and his furniture designs of bent plywood. His influence
on American furniture-making continues to be seen in
public buildings.

28
ThankYou
ANUDESH SAINI 1999001
GORESH SAINI 1999005
 THEORY OF DESIGN -II ARCHITECTS AND THEIR WORK
LOUIS HENRY SULLIVAN FRANK LLOYD WRIGHT WALTER ADOLPH
• AN AMERICAN ARCHITECT. • AN AMERICAN ARCHI- GEORG GROPIUS
TECT, DESIGNER, WRITER • A GERMAN ARCHITECT
ARCHITECT • KNOWN AS ‘FATHER OF SKY- AND EDUCATOR • WIDELY REGARDED AS ONE
SCRAPERS’ AND ‘FATHER OF • DESIGNED MORE THAN OF THE POINEERING MASTERS
MODERNISM’. 1000 STRUCTURES. OF MODERNIST ARCHITEC-
TURE.

TIMELINE

• The Wainwright Building cemented Sullivan’s • He attended Madison high school in 1886. • In 1908 Gropius joined the office of the re-
MAJOR LIFE position as one of the foremost architects in In order to pay his tuition fees, he assisted the nowned architect Peter Behrens, Here, Gro-
the United States and later earned him the architect Joseph Silsbee . This experience pius formed connections with Ludwig Mies
EVENTS
moniker of “Father of Skyscrapers.” motivated him to become an architect. van der Rohe and Le Corbusier who were
based in the same office.
• He had a unique approach to treat a tall • He had an overarching belief that archi- • Gropius believed that all design should
building as a columnar form, with base, shaft, tecture, which encompassed both interior be approached through a study of the
and capital. Sullivan had a sense of design and products, should be a complete work of problems that needed to be addressed
PHILOSOPHY with the amalgamation of nature with science art and that all elements should contribute and he consequently followed the modern-
and technology. to the whole. ist principle that functionality should dictate
• One of his famous dicta is ‘Form follows func- form.
tion.
• Sullivan’s work rejected borrowing classical • Louis Sullivan, whom he considered to be • He then went to work in Berlin for Peter
Greek and Roman elements so popular with his Lieber Meister (dear master). Behrens, one of several German architects
many other architects of his day. • Nature, particularly shapes/forms and who was influenced by the British Arts and
INSPIRATION • This, combined with the influence of both colors/patterns of plant life Crafts movement and who attempted to
Furness and Jenney, as well as architect H.H. • Music go further by adapting good design to ma-
Richardson, led to Sullivan’s own singular style. • Japanese art, prints and buildings chine production.

WAIN WRIGHT FALLING WATER, BAUHAUS,

BUILDING, MISSOURI PENNSYLVANIA DESSAU
• BUILT IN 1890-1891 • BUILT IN 1935 • BUILT IN 1925-26
FAMOUS
WORKS • DESIGNED BY DANKMAR • TYPE- HOILDAY • TYPE- ART SCHOOL
ADLER AND LOUIS SULLI- HOME
GORESH SAINI
1917580
THEORY OF DESIGN- II UNIT-2 COMPARATIVE ANALYSIS
MIES VAN DER ROHE LE CORBUSIER ALVAR AALTO
-He was a German-American - He was a Swiss-French modern -He was a Finnish architect.
ARCHITECT architect & designer. architect, urban planner, sculptor, -Commonly known as the Father
& -Considered as a pioneer master painter & writer. of modernism.
of modern architecture. -Considered as Pioneer master of -Famous for his modernist
TIMELINE buildings & furniture designs.
modern architecture.

- His drawing skill developed while working under architects. - In 1905,he had designed his first house, the Villa Fallet. -By 1923, he opened his own architecture firm.
- He went to Berlin to work under Bruno Paul. - Met Ozenfant & develop the movement called Purism -His designs transformed from the classical to the more
MAJOR LIFE - He had received his first independent commission, the - Worked on his own studies of reinforced concrete modern after he went to Helsinki in 1933.
EVENTS Riehl House in Potsdam. - His developed his principles and termed as the ‘five points of -In Finland, he developed a movement called functionalism.
- He got a job offer by Peter Behrens in his office. new architecture’ & also created the Modulor, a proportional -During his later career, he embraced monumentalism other
- He had designed the famed Barcelona chair. system. than functionalism.
‘God is in the details’ : ‘Less is more’ : ‘Five points of new Architecture’: ‘The modular’ : ‘Functionalism’: ‘Monumentalism’:
Every aspect of architecture Configuration and arrangement 1. Pilotis - It is an anthropometric
from overall concept to the of every architectural element 2. Free facade scale of proportions. -A movement that has -It has brought together the
PHILOSOPHY 3. Ribbon windows
small details, supports his must contribute to a unified ex- - Used the golden ratio in his excess in favor of buildings contemporary and traditional
efforts to express the modern pression. 4. Open floor plan modular system for the scale that served his purpose. facets of architecture.
age. 5. Roof garden of architectural proportion.
- He was influenced by Behrens’ emulation - The painter Charles L’Eplattenier at the -He was influenced by the International
of the pure & simple Neoclassic forms of Art School in La Chaux-de-Fonds, exert Style modernism or functionalism.
INSPIRATION the early 19th-century German architect a strong influence on Corbusier, -His acquaintance with leading mod-
Karl Friedrich Schinkel. encouraging him to study architecture. ernists in Europe followed his interest in
- Schinkel was the one who became the architecture.
influence on Mies’s mind.
SEAGRAM BUILDING NEW NATIONAL GALLERY UNITE D’HABITATION VILLA SAVOYE TOWN HALL HOUSE OF CULTURE

FAMOUS
WORKS

-It was the Mies’ first attempt
at tall buildings.
-Location- New York
-Year of completion- 1958
-Architectural style- The in-
ternational (modern) style
-It was the Mies’s last work.
-Location- Berlin, Germany
-Year of completion- 1968
-Architectural style- 20th-
century modern architecture
-It was his first commission
received from French State.
-Location- Marseille, France.
-Year of completion- 1952
-Architectural style- Modern
architecture
-It was the first modern take
on a French country house.
-Location- Paris, France
-Year of completion- 1929
-Architectural style- 20th-
century modern architecture
- It was designed for the
municipality of Säynätsalo.
-Location- Central Finland
-Year of completion- 1951
-Architectural style- Modern
architecture
-It was the headquarters for
Finnish Communist Party.
-Location- Helsinki,Finland
-Year of completion- 1958
-Architectural style- Modern
architecture