Later Modernism & Post modern architects

AR 17-56 History of Architecture IV
Module 3: LATER MODERN ARCHITECTURE
 Post Modernism and International style.
 Ideas and works of architects:
 Paul Rudolph – Arts and Architecture building, Yale University,
Orange County Government Centre, New York
 I.M. Pei - Grand Louvre, Paris, Everson Museum of Art, Kenzo
Tange –Olympic Arena, Tokyo, Fuji, Broadcasting Centre, Tokyo
 Minoru Yamasaki – Dahran International Airport, McGregor
Memorial Conference Community Centre, Detroit
 Kisho Kurokawa - The Museum of Modern Art, Wakayama,
Capsule Tower, Tokyo
 Richard Meier – Jubilee Church, Los Angeles, Smith house,
Connecticut, Toyo Ito - U House, Tokyo, Serpentine Pavilion,
London
 John Utzon - Sydney Opera House.

Modernism is an encompassing label for a wide variety of cultural movements.
Differences between modernism and postmodernism:
Postmodernism is essentially a centralized movement that named itself, based on socio-
political theory, although the term is now used in a wider sense to refer to activities from the
20th Century onwards which exhibit awareness of and reinterpret the modern.
"Postmodern" literally means 'after modernism'. These movements, modernism and
postmodernism, are understood as cultural projects or as a set of perspectives.
"Postmodernism" is used in critical theory to refer to a point of departure for works of
literature, drama, architecture, cinema, journalism, and design, as well as in marketing and
business and in the interpretation of law, culture, and religion in the late 20th and early 21st
centuries. Indeed, postmodernism can be understood as a reaction to modernism.
Postmodernist thought is an intentional departure from modernist approaches that had
previously been dominant. The term "postmodernism" comes from its rejection of the
"modern" scientific mentality developed during the Enlightenment.
Fredric Jameson describes postmodernism as the "dominant cultural logic of late capitalism.

Postmodern architecture was an international style whose first examples are generally
cited as being from the 1950s, but which did not become a movement until the late 1970s
and continues to influence present-day architecture.
Postmodern architecture:
Postmodernity in architecture is generally thought to be heralded by the return of "wit,
ornament and reference" to architecture in response to the formalism of the International
Style of modernism.
As with many cultural movements, some of postmodernism's most pronounced and visible
ideas can be seen in architecture. The functional and formalized shapes and spaces of the
modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form
is adopted for its own sake, and new ways of viewing familiar styles and space abound.
One popular building style of postmodernist style architecture is the use of pent roofing in
buildings, where roofs are slanted at an even angle from one wall to the other. Peaked
roofing however, as seen on most traditional single-family homes, is an example of
Modernist Architecture.

Examples of postmodern architecture:
The distinctive look of Michael Graves' Portland Building, with
its use of a variety of surface materials and colors, small
windows, and inclusion of prominent decorative flourishes,
was in stark contrast to the architectural style most commonly
used for large office buildings at the time, and made the
building an icon of postmodern architecture.
Portland Municipal Services Building
Portland mayor Frank was among those who expressed the
opinion that the modernist style then being applied to most
large office buildings had begun to make some American cities'
downtowns look "boring",with most of the newer, large
buildings being covered in glass and steel, and largely lacking in
design features that would make them stand out.
first major postmodern building, opening before Philip
Johnson's AT&T Building, and its design has been described as
a rejection of the Modernist principles established in the early
20th century.
AT&T Headquarter - Philip Johnson
Philip Johnson's Sony Building (originally AT&T Building) in New
York City, which borrows elements and references from the
past and reintroduces color and symbolism to architecture.

Postmodern architecture has also been described as "neo-eclectic", where reference and
ornament have returned to the facade, replacing the aggressively unornamented modern styles.
This eclecticism is often combined with the use of non-orthogonal angles and unusual
surfaces, most famously in the State Gallery of Stuttgart (New wing of the Staatsgalerie
Stuttgart)
Façade
Entrance
State Gallery

Piazza d'Italia by Charles Moore. The Scottish Parliament buildings in Edinburgh have also
been cited as being of postmodern vogue.
Style:
The building incorporates warm, natural elements of travertine and sandstone to contrast
the industrial pieces of green steel framing system and the bright pink and blue steel
handrails. The building's most prominent feature is a central circular atrium. This outdoor,
enclosed space houses the sculpture garden. It is circumvented by a public footpath that
leads pedestrians through the lot, turning the architecture into an "architectural
landscape." This feature allows the public to reach the higher elevation behind the museum
from the lower front of the building's main face.
Piazza d'Italia at night
Piazza d'Italia by Charles Moore

The Piazza d'Italia is an urban public plaza in downtown New Orleans, Louisiana controlled
by the Piazza d'Italia Development Corporation, a subdivision of New Orleans city
government. Completed in 1978 according to a design by noted post-modernist Charles
Moore and Perez Architects of New Orleans, the Piazza d'Italia debuted to widespread
acclaim on the part of artists and architects.
Modernist architects regard post-modern buildings as vulgar (many times associated with
the style of shopping malls and the nouveau riche values) and cluttered with "gew-gaws".
Postmodern architects often regard modern spaces as soulless and bland. The divergence
in opinions comes down to a difference in goals: modernism is rooted in minimal and true
use of material as well as absence of ornament, while postmodernism is a rejection of
strict rules set by the early modernists and seeks exuberance in the use of building
techniques, angles, and stylistic references.
Interior of the Toronto Eaton Centre in Toronto, Canada.
Piazza d'Italia by Charles Willard Moore, New Orleans.

Roots of Postmodernism:
The postmodernist movement began in America around the 1960s - 1970s and then it
spread to Europe and the rest of the world, to remain right through to the present. The
aims of postmodernism or Late-modernism begin with its reaction to Modernism; it tries to
address the limitations of its predecessor.
The list of aims is extended to include communicating ideas with the public often in a then
humorous or witty way. Often, the communication is done by quoting extensively from past
architectural styles, often many at once. In breaking away from modernism, it also strives to
produce buildings that are sensitive to the context within which they are built.
Sainsbury Wing:
Sainsbury Wing of the National Gallery in London by Robert
Venturi (1991).
The most important addition to the building in
recent years has been the Sainsbury Wing,
designed by the postmodernist architects Robert
Venturi and Denise Scott Brown to house the
collection of Renaissance paintings, and built in
1991. The building occupies the "Hampton's site"
to the west of the main building, where a
department store of the same name had stood
until its destruction in the Blitz. In 1982 a
competition was held to find a suitable architect;
the shortlist included a radical high-tech proposal
by Richard Rogers

Aims and characteristics:
The aims of post-modernism, including solving the problems of Modernism, communicating
meanings with ambiguity, and sensitivity for the building’s context, are surprisingly unified
for a period of buildings designed by architects who largely never collaborated with each
other. The aims do, however, leave room for various implementations as can be illustrated by
the diverse buildings created during the movement.
The characteristics of Postmodernism allow its aim to be expressed in diverse ways. These
characteristics include the use of sculptural forms, ornaments and materials.
These physical characteristics are combined with conceptual characteristics of meaning.
These characteristics of meaning include double coding, and high ceilings.
The ornament in Michael Graves' Portland Public
Service Building (1980) is even more prominent. The
two triangular forms are largely ornamental. They
exist for aesthetic or their own purpose.
The Hood Museum of Art (1981-1983) has a typical
symmetrical façade which was at the time prevalent
throughout Postmodern Buildings

Esplanade of Europe by Ricardo Bofill, Montpellier (1978-2000).
Bank of America Center in Houston by John Burgee and
Philip Johnson. It combines architecture elements of pre-
WWII skyscrapers with elements of modern aesthetics.
1000 de La Gauchetière, in Montréal, with ornamented and
strongly defined top, middle and bottom. Contrast with the
modernist Seagram Building.

Ideas and works of architects:

Ideas and works of Minoru Yamasaki:

AR 17-56 History of Architecture IV
Module 3: ALTERNATIVE PRACTICES AND IDEAS
 Critical regionalism
 Works and Ideas
 Hassan Fathy
 Geoffrey Bawa
 Tadao Ando
 Laurie Baker
 Paulo Soleri
 Robert Venturi
 Renzo Piano, Pompidou Centre
 Richard Rogers
 Mario Botta
 Alvaro Siza.

Critical Regionalism:
Critical Regionalism is an approach to architecture that strives to counter placelessness and
lack of identity in Modern Architecture by utilizing the building's geographical context.
Critical Regionalism is not regionalism in the sense of vernacular architecture, but is, on the
contrary, an avant-gardist, modernist approach, but one that starts from the premises of local
or regional architecture. The idea of critical regionalism emerged at a time during the early
1980s when Postmodern architecture, itself a reaction to Modernist architecture
Jørn Utzon, Bagsvaerd Church (1973–6),
Denmark; combinations of local culture
and universal civilization.
Alvar Aalto, Saynatsalo Town
Hall (1952), Finland: the grass
steps appeal to the tactile sense.
Two examples Frampton briefly discusses are Jørn Utzon and Alvar Aalto. In Frampton's view,
Utzon's Bagsvaerd Church (1973–6), near Copenhagen is a self-conscious synthesis between
universal civilization and world culture.
This is revealed by the rational, modular, neutral and economic, partly prefabricated concrete
outer shell (i.e. universal civilization) versus the specially-designed, 'uneconomic', organic,
reinforced concrete shell of the interior, signifying with its manipulation of light sacred space
and 'multiple cross-cultural references'
In addition to Aalto and Utzon, the following architects have used Critical Regionalism (in the
Frampton sense) in their work: B. V. Doshi, Charles Correa, Alvaro Siza, Rafael Moneo,
Geoffrey Bawa, Tadao Ando.

Ideas and selected works of Hassan Fathy
Hassan Fathy (1900 – 1989, Arabic: ‫حسن‬
‫ي‬
‫فتح‬ ) was a noted Egyptian architect
who pioneered appropriate technology for building in Egypt, especially by
working to re-establish the use of mud brick (or adobe) and traditional as
opposed to western building designs and lay-outs.
Fathy trained as an architect in Egypt, graduating in 1926 from the University of King Fuad I
(now the University of Cairo). He designed his first mud brick buildings in the late 1930s. He
held several government positions and was appointed head of the Architectural Section of
the Faculty of Fine Arts, Cairo, in 1954.
Fathy utilized ancient design methods and materials. He integrated a knowledge of the
rural Egyptian economic situation with a wide knowledge of ancient architectural and
town design techniques. He trained local inhabitants to make their own materials and
build their own buildings.
Climatic conditions, public health considerations, and ancient craft skills also affected his
design decisions. Based on the structural massing of ancient buildings, Fathy incorporated
dense brick walls and traditional courtyard forms to provide passive cooling.

Life History:
 Hassan Fathy, who was born in Alexandria in 1900 and died in Cairo in 1989, is Egypt's
best known architect.
 In the course of a long career with a crescendo of acclaim sustaining his later decades,
the cosmopolitan trilingual professor-engineer-architect, amateur musician, dramatist,
and inventor, designed nearly 160 separate projects, from modest country retreats to
fully planned communities with police, fire, and medical services, with markets, schools
and theatres, with places for worship and others for recreation, including many, like
laundry facilities, ovens, and wells that planners less attuned to sociability might call
workstations.
 Although the importance of Fathy's contribution to world architecture became clear only
as the twentieth century waned, his contribution to Egypt was obvious decades before,
at least to outside observers.
 As early as halfway through his three building seasons at New Gourna (a town for the
resettlement of tomb robbers, designed for beauty and built with mud) the project was
being admired abroad.
 In March 1947 it was applauded in a popular British weekly, half a year later in a British
professional journal, and praise from Spanish professionals followed the next year.

 A year of silence (1949, when Fathy published a literary fable) was followed by attention in
one French and two Dutch periodicals,it the lead story.
 Fathy's next major engagement, designing and supervising school construction for
Egypt's Ministry of Education, further extended his leave from the College of Fine Arts,
where he had begun teaching in 1930.
 In 1953 he returned, heading the architecture section the next year. In 1957, frustrated
with bureaucracy and convinced that buildings would speak louder than words, he
moved to Athens to collaborate with international planners
 He served as the advocate of traditional natural-energy solutions in major community
projects for Iraq and Pakistan and undertook, under related auspices, extended travel
and research for "Cities of the Future" program in Africa.
Awards:
Aga Khan Award for Architecture Chairman's Award (1980),
Balzan Prize for Architecture and Urban Planning (1980),
Right Livelihood Award (1980)
Hassan Fathy
Architecture For The Poor

Lifetime Achievements of Hassan Fathy
 The first Chairman's Award was given in 1980 to Hassan Fathy, an Egyptian architect, artist
and poet in acknowledgement of his lifelong commitment to architecture in the Muslim
world.
 Early in his career he began to study the pre-industrial building systems of Egypt to
understand their aesthetic qualities, to learn what they had to teach about climate
control and economical construction techniques and to find ways to put them to
contemporary use.
 Two such systems dominated his thinking: the climatically efficient houses of Mamluk
and Ottoman Cairo, ingeniously shaded and ventilated by means of their two-storey
halls and courtyards; and the indigenous mud brick construction still to be found in
rural areas.

 The latter consists of inclined arches and vaults, built without shuttering, domes on
squinches built over square rooms in a continuing spiral, semi-domed alcoves and other
related forms.
 The ancient mud brick forms, in contrast, were still being produced by rural masons
unchanged. Stimulated by what he had learned, Fathy had what was then a revolutionary
idea.
 Hassan perceived that a connection could be made between the continuing viability of
mud brick construction and the desperate need of Egypt's poor to be taught once again to
build shelter for themselves.
 In his lifetime he designed more than thirty projects including several villages for the
poor. Experimental and unorthodox as his ideas were, more than two-thirds of his
projects were either partially or completely realised. Still in use, and well cared for, are a
series of modest private residences shaped by his profound understanding of vernacular
design.

Fuad Riad House, 1967,
Shabramant, Egypt.
 The urban housing forms of Cairo could not serve Fathy directly as a replicable source
because of the disappearance of the building traditions that created them. These fine old
houses enriched his imagination, however, and were to become models for later large-
scale work.
 The emerging ideals of the modern movement in Europe in the
early part of the twentieth century were diametrically opposed to
the preservation of such traditions, producing manifestos that
proclaimed a ‘New Era’. As Le Corbusier proclaimed in his Towards a
New Architecture in 1927,the use of materials such as plate glass,
steel and reinforced concrete, as well as the image of the industrial
age, were to be the basis of the revolutionary changes that he
proposed.
 For him, and many others in this movement, the spaces that could
be created by using such technological advances had socially
corrective potential and honesty of expression in the use of this
technology was deemed to be an essential prerequisite to a brighter
future.

 Rather than believing that people could be behaviorally conditioned by architectural
spaces, Fathy felt that human beings, nature and architecture should coexist in
harmonious balance.
 For him, architecture was a communal art, that should reflect the personal habits and
traditions of a community rather than reforming or eradicating them. while he was
certainly not opposed to innovation, he felt that technology should be subservient to
social values, and appropriate to popular need.
 His book Architecture for the poor, a call for integration of nature and industry, prefigures
the current ethos of sustainability.
 Fathy did not seek to theorize the profession, but saw the architect as working in
partnership with people, and providing guidance on structural and aesthetic issues. He
finally formalized this concept in his institute for appropriate technology, through which
he sought to expand on the ideas begun at new gourna

 When commissioned to assist in the design of the reconstruction of sohar, in the
sultanate of oman between 1970 and 1973, for example, where a fire had destroyed
much of commercial area of the city, he worked with local craftsmen to develop a
lightweight roofing element using readily available, in expensive materials, such as
woven wire fabric and reeds, which he called a baratsi truss. This truss proved to be very
light, structurally stable and weatherproof, and yet offered diverse architectural
possibilities.
 Fathy encouraged a deeper respect for the use of tradition in architecture, noting that
the word itself comes from the latin trader, to carry forward or to transfer, and thus
implies the cyclical renewal of life.
 Fathy went further to identify this transfer with individual behavior and its impact on
society in general, by defining tradition as “the social analogy of personal habit”. By
doing so, he intimated that it is the responsibility of each architect to develop a
heightened awareness of such habits, and to incorporate them sympathetically into each
design.

Ideas and selected works of Geoffrey Bawa
Geoffrey Bawa,(1919–2003) is the most renowned architect in Sri Lanka and
was among the most influential architects in southeast Asia in the last decades
of the 20th century, he is the principal force behind what is today known
globally as ‘tropical modernism’
Early life
 Geoffrey Bawa was born in 1919 to wealthy parents of mixed European and Ceylonese
descent.
 Returning to Ceylon after the war he started working for a Colombo Law firm. But soon he
left to travel for two years, almost settling in Italy. Only after this did he turned to
architecture at the age of 38.
 He was educated at the prestigious Royal College after which he studied English and Law at
Cambridge gaining a BA (English Literature Tripos) and went on to study law at Middle
Temple, London becoming a Barrister in 1944.
Career in architecture
 Bawa became apprenticed to the architectural practice of Edwards Reid and Begg in
Colombo after he advanced his education in architecture by gaining a Diploma in
Architecture from Architectural Association, London in 1956

 In 1956 bawa became an Associate of the Royal Institute of British Architects
 Bawa returned to Ceylon becoming a partner of Messrs. Edwards, Reid and Begg, Colombo
in 1958.
 Bawa became an Associate of the Sri Lanka Institute of Architects in 1960.
 Bawa produced a new awareness of indigenous materials and crafts, leading to a post
colonial renaissance of culture.
Gangaramaya Temple
 Gangaramaya Temple is one of the most important temples in
Colombo.
 This Buddhist temple includes several imposing buildings and
is situated not far from the placid waters of Beira Lake on a
plot of land that was originally a small hermitage on a piece of
marshy land.
 It has the main features of a Vihara (temple), the Cetiya (Pagada) the Bodhitree, the
Vihara Mandiraya, the Simamalaka and the Relic Chamber. In addition, a museum, a
library, a residential hall, a three storeyed Pirivena, educational halls and an alms hall are
also on the premises.
 Most notable for tourists is the architecture of the Simamalaka Shrine which was built
with donations from a Moslem sponsor to the design of Geoffrey Bawa.
Simamalaka shrine of the
Gangaramaya Temple

Present Day Activities
 Today Gangaramaya serves not only as a place of Buddhist worship; it is also a centre of
learning.
 The temple is involved in Buddhist welfare work including old peoples' homes, a vocational
school and an orphanage.
 The temple is uniquely attractive and tolerant to congregation members of many different
religions. It has also been instrumental in establishing the Buddhist temple on Staten Island
(U.S.A.) the Buddhist Center in New York, Birmingham Buddhist Vihara (U.K) and the
Buddhist Centre in Tanzania, thereby helping to propagate the Dhamma in other countries.
Sri Lankan Parliament Building
The Sri Lankan Parliament Complex (also known as the New Parliament Complex) is a public
building and landmark that houses the Parliament of Sri Lanka. Situated in Sri
Jayawardenepura Kotte, the administrative capital. It is built on an island, surrounded by the
Diyawanna Oya it was designed by Geoffrey Bawa.
 On January 29, 1930 the British Governor of Ceylon, Sir Herbert Stanley (1927–1931),
opened a building fronting the ocean at Galle Face, Colombo, designed for meetings of the
Legislative Council. It was subsequently used by the State Council (1931–1947), the House
of Representatives (1947–1972), the National State Assembly (1972–1977) and the
Parliament of Sri Lanka (1977–1981). Today the Old Parliament Building is used by the
Presidential Secretariat.

 In 1967 under Speaker Sir Albert F. Peris, the leaders of the political parties unanimously
resolved that a new Parliament building should be constructed on the opposite side of
Beira Lake from the existing Parliament at Galle Face, but no further action was taken.
 While Stanley Tilakaratne was the Speaker (1970–77), the leaders of the political parties
entrusted the drawing up of plans for a new Parliament building to architects, but the
project was subsequently abandoned.
 On July 4, 1979, then Prime Minister Ranasinghe Premadasa obtained sanction from
Parliament to construct a new Parliament Building at Duwa, a 5 hectare (12 acre) island in
the Diyawanna Oya (off Baddegana Road, Pita Sri Jayawardenapura-Kotte) about 16
kilometres (10 miles) east of Colombo.
 The island was where the palace of the King Vikramabahu III's powerful Minister Nissaka
Alakesvara had been situated. It had belonged to E. W. Perera prior to being vested in the
state.
 The building was designed by architect Deshamanya Geoffrey Bawa and built with Sri
Lankan funds. On April 29, 1982, the new Parliamentary Complex was declared open by
then President J.R. Jayewardene.

Awards and Fellowships
 Pan Pacific Citation, Hawaii Chapter of the American Institute of Architects (1967)
 President, Sri Lanka Institute of Architects (1969)
 Inaugural Gold Medal at the Silver Jubilee Celebration of the Sri Lanka Institute of
Architects (1982)
 Heritage Award of Recognition, for “Outstanding Architectural Design in the Tradition of
Local Vernacular Architecture”, for the new Parliamentary Complex at Sri
Jayawardenepura, Kotte from the Pacific Area Travel Association. (1983)
 Fellow of the Royal Institute of British Architects
 Elected Honorary Fellow of the American Institute of Architects (1983)
 Conferred title of Vidya Jothi (Light of Science) in the Inaugural Honours List of the
President of Sri Lanka (1985)
 Teaching Fellowship at the Aga Khan Programme for Architecture, at MIT, Boston , USA
(1986)
 Conferred title Deshamanya (Pride of the Nation) in the Honours List of the President Sri
Lanka (1993)
 The Grate Master's Award 1996 incorporating South Asian Architecture Award (1996)
 The Architect of the Year Award, India (1996)
 Asian Innovations Award, Bronze Award – Architecture, Far Eastern Economic Review
(1998)
 The Chairman's Award of the Aga Khan Award for Architecture in recognition of a
lifetime's achievement in and contribution to the field of architecture (2001)
 Awarded Doctor of Science (Honoris Causa), University of Ruhuna( 14 th September 2002 )

Ideas and selected works of Tadao Ando
Tadao Ando (born September 13, 1941, in Osaka, Japan) is a Japanese
architect whose approach to architecture was once categorized as critical
regionalism. Ando has led a storied life, working as a truck driver and boxer
prior to settling on the profession of architecture, despite never having
taken formal training in the field.
 He works primarily in exposed cast-in-place concrete and is renowned for an exemplary
craftsmanship which invokes a Japanese sense of materiality, junction and spatial
narrative through the pared aesthetics of international modernism.
 In 1969, he established the firm Tadao Ando Architects & Associates. In 1995, Ando won
the Pritzker Architecture Prize, considered the highest distinction in the field of
architecture. He donated the $100,000 prize money to the orphans of the 1995 Kobe
earthquake.
Buildings and works
 Tadao Ando's body of work is known for the creative use of natural light and for
architectures that follow the natural forms of the landscape (rather than disturbing the
landscape by making it conform to the constructed space of a building).
 The architect's buildings are often characterized by complex three-dimensional
circulation paths. These paths interweave between interior and exterior spaces formed
both inside large-scale geometric shapes and in the spaces between them.

 His "Row House in Sumiyoshi",a small two-story, cast-in-place
concrete house completed in 1976, is an early Ando work which
began to show elements of his characteristic style.
 It consists of three equally sized rectangular volumes: two enclosed
volumes of interior spaces separated by an open courtyard. By
nature of the courtyard's position between the two interior
volumes, it becomes an integral part of the house's circulation
system.
Azuma House
 Ando's housing complex at Rokko, just outside Kobe, is a complex
warren of terraces and balconies and atriums and shafts. The
designs for Rokko Housing One (1983) and for Rokko Housing Two
(1993) illustrate a range of issues in the traditional architectural
vocabulary—the interplay of solid and void, the alternatives of
open and closed, the contrasts of light and darkness.
Rokko Housing I and II, Kobe
 More significantly, Ando's noteworthy achievement in these
clustered buildings is site specific—the structures survived
undamaged after the Great Hanshin Earthquake of 1995.

 New York Times architectural critic Paul Goldberger argues convincingly that "Ando is
right in the Japanese tradition: spareness has always been a part of Japanese
architecture, at least since the 16th century.
 Frank Lloyd Wright more freely admitted to the influences of Japanese architecture than of
anything American." Like, Wright's Imperial Hotel in Tokyo, which did survive the Great
Kanto Earthquake of 1923, site specific decision-making, anticipates seismic activity in
Ando's several buildings.
Award Organization/Location Country Date
Annual Prize (Row House, Sumiyoshi)
Architectural Institute of
Japan
Japan 1979
Cultural Design Prize (Rokko Housing One and Two) Tokyo Japan 1983
Alvar Aalto Medal
Finnish Association of
Architects
Finland 1985
Gold Medal of Architecture
French Academy of
Architecture
France 1989
Carlsberg Architectural Prize (International) Copenhagen Denmark 1992
Japan Art Academy Prize Tokyo Japan 1993
Pritzker Architecture Prize (International) Chicago United States 1995
Chevalier de l’Ordre des Arts et des Lettres Paris France 1995
Praemium Imperiale First “FRATE SOLE” Award in Architecture Japan Art Association Japan 1996
Officier de l'Ordre des Arts et des Lettres Paris France 1997
Royal Gold Medal RIBA Great Britain 1997
AIA Gold Medal
American Institute of
Architects
United States 2002
UIA Gold Medal
International Union of
Architects
France 2005

Church of the Light
Church of the light (sometimes called "Church with Light") is the
Ibaraki Kasugaoka Church's main chapel. It was built in 1989, in the
city of Ibaraki, Osaka Prefecture. This building is one of the most
famous designs of Japanese architect Tadao Ando.
 In 1999, the main building was extended with the addition of a
Sunday School.
Church of the light
Construction and Structure
 The Church of the Light is a small structure on the corner of two
streets at Ibaraki, a residential neighborhood. It is located 25km
north-northeast of Osaka in the western foothills of the Yodo
valley railway corridor. The church has an area of roughly 113 m²
(1216 ft²): about the same size as a small house
 The church was planned as an add-on to the wooden chapel and minister's house that
already existed at the site. The Church of the Light consists of three 5.9m concrete cubes
(5.9m wide x 17.7m long x 5.9m high) penetrated by a wall angled at 15°, dividing the
cube into the chapel and the entrance area.
 One indirectly enters the church by slipping between the two volumes, one that contains
the Sunday school and the other that contains the worship hall. The benches, along with
the floor boards, are made of re-purposed scaffolding used in the construction. A
cruciform is cut into the concrete behind the altar, and lit during the morning (as it is
facing east).

 The one element carried through Tadao Ando's structures is his idolization of the reinforced
concrete wall. The importance given to walls is a distinct departure from Modernist
architecture.
 They are usually made of 'in-situ' poured in place concrete. Considerable care is taken to
see that the walls are as perfect as technique will allow. These walls are thick, solid,
massive, and permanent . The main reinforced concrete shell of the Church of the Light is
15 inches thick.
 Ando says "In all my works, light is an important controlling factor,". "I create enclosed
spaces mainly by means of thick concrete walls. The primary reason is to create a place
for the individual, a zone for oneself within society.
 When the external factors of a city's environment require the wall to be without
openings, the interior must be especially full and satisfying." And further on the subject
of walls, Ando writes, "At times walls manifest a power that borders on the violent.
 They have the power to divide space, transfigure place, and create new domains. Walls
are the most basic elements of architecture, but they can also be the most enriching."

Ideas and selected works of Laurie Baker
Laurence Wilfred "Laurie" Baker (March 2, 1917 – April 1, 2007) was an
award-winning British-born Indian architect, renowned for his initiatives in
cost-effective energy-efficient architecture and for his unique space
utilisation and simple but beautiful aesthetic sensibility. In time he made a
name for himself both in sustainable architecture as well as in organic
architecture.
 Laurie Baker went to India in 1945 in part as a missionary and since then lived and
worked in India for over 50 years. He obtained Indian citizenship in 1989 and resided in
Thiruvananthapuram (Trivandrum), Kerala, since 1970 , where he later set up an
organization called COSTFORD (Centre of Science and Technology for Rural Development),
for spreading awareness for low cost housing.
 In 1990, the Government of India awarded him with the Padma Shri in recognition of his
meritorious service in the field of architecture.
Education and missionary work
 Baker studied architecture at Birmingham Institute of Art and Design, Birmingham and
graduated in 1937, aged 20, in a period of political unrest for Europe.
 During the Second World War, he served in the Friends Ambulance Unit in China and
Burma.

 His initial commitment to India had him working as an architect for World Leprosy Mission,
an international and interdenominational Mission dedicated to the care of those suffering
from leprosy in 1945.
 As new medicines for the treatment of the disease were becoming more prevalent, his
responsibilities were focused on converting or replacing asylums once used to house the
ostracized sufferers of the disease - "lepers".
 Education to be inadequate for the types of issues and materials he was faced with
termites and the yearly monsoon, as well as laterite, cow dung, and mud walls,
respectively,
 Baker had no choice but to observe and learn from the methods and practices of the
vernacular architecture. He soon learned that the indigenous architecture and methods
of these places were in fact the only viable means to deal with his once daunting
problems.
 Inspired by his discoveries baker began to turn his style of architecture towards one that
respected the actual culture and needs of those who would actually use his buildings,
rather than just playing to the more "Modernistic" tunes of his paying clients.

Gandhian encouragement and initial work
 After he came to India Laurie had a chance encounter with Mahatma Gandhi which was
to have a lasting impact on his ideology and also his work and building philosophy.
 After India gained her independence and Mahatma Gandhi was assassinated, Baker lived
in Kerala with Doctor P.J. Chandy, from whom he received great encouragement
 Laurie continued his architectural work and research accommodating the medical needs
of the community through his constructions of various hospitals and clinics.
 Baker would acquire and hone those skills from the local building community which had
so fascinated him during his missionary work.
 In 1966, Baker moved south and worked with the tribals of Peerumed, Kerala, and in
1970 moved to Thiruvananthapuram
 Baker sought to enrich the culture in which he participated by promoting simplicity and
home-grown quality in his buildings.
 Seeing so many people living in poverty in the region and throughout India served also to
amplify his emphasis on cost-conscious construction, one that encouraged local
participation in development and craftsmanship - an ideal that the Mahatma expressed
as the only means to revitalize and liberate an impoverished India.

Central for Development Studies, Thiruvananthapuram.
 One of the first buildings designed by Laurie Baker. 1971
Architectural style
 Throughout his practice, Baker became well known for designing and building low cost,
high quality, beautiful homes, with a great portion of his work suited to or built for
lower-middle to lower class clients.
 His buildings tend to emphasize prolific - at times virtuosic - masonry construction,
instilling privacy and evoking history with brick jali walls, a perforated brick screen which
invites a natural air flow to cool the buildings' interior, in addition to creating intricate
patterns of light and shadow.
Centre for Development Studies (Trivandrum, 1971) Baker created a cooling system by
placing a high, latticed, brick wall near a pond that uses air pressure differences to draw
cool air through the building.

 Curved walls enter Baker's architectural vocabulary as a means to enclose more volume
at lower material cost than straight walls, and for Laurie, "building [became] more fun
with the circle."
The Indian Coffee House in
Thiruvananthapuram
Baker's works, such as this house, blend
seamlessly into the natural settings.
 Baker's architectural method is one of improvisation, in which initial drawings have only
an idealistic link to the final construction, with most of the accommodations and design
choices being made on-site by the architect himself.
 Compartments for milk bottles near the doorstep, windowsills that double as bench
surfaces, and a heavy emphasis on taking cues from the natural condition of the site are
just some examples.
 Another significant Baker feature is irregular, pyramid-like structures on roofs, with one
side left open and tilting into the wind. Baker's designs invariably have traditional Indian
sloping roofs and terracotta Mangalore tile shingling with gables and vents allowing rising
hot air to escape.

 His approach to architecture steadily gained appreciation as architectural sentiment
creaks towards place-making over modernizing or stylizing.
 Laurie Baker's architecture focused on retaining a site's natural character, and
economically minded indigenous construction, and the seamless integration of local
culture that has been very inspirational.
 Many of Laurie Baker's writings were published and are available through COSTFORD (the
Center Of Science and Technology For Rural Development)
 COSTFORD is carrying on working towards the ideals that Laurie Baker espoused
throughout his life.
Awards
1981: D.Litt. conferred by the Royal University of Netherlands for outstanding work in the
developing countries. 1983: Order of the British Empire, MBE
1987: Received the first Indian National Habitat Award,1988: Received Indian Citizenship
1989: Indian Institute of Architects Outstanding Architect of the Year
1990: Received the Padma Sri,1990: Great Master Architect of the Year
1992: UNO Habitat Award & UN Roll of Honour,1993: International Union of Architects
(IUA) Award,1993: Sir Robert Matthew Prize for Improvement of Human Settlements
1994: People of the Year Award,1995: Awarded Doctorate from the University of Central
England,1998: Awarded Doctorate from Sri Venkateshwara University
2001: Coinpar MR Kurup Endowment Award,2003: Basheer Puraskaram
2003: D.Litt. from the Kerala University,2005: Kerala Government Certificate of
Appreciation,2006: L-Ramp Award of Excellence,2006: Nominated for the Pritzker Prize
(considered the Nobel Prize in Architecture)

Paolo Soleri was an
Italian architect.
 He established the
educational Cosanti Foundation
and Arcosanti.
 Soleri was a lecturer in the
College of Architecture
at Arizona State University and
a National Design
Award recipient in 2006.
He died at home of natural
causes on 9 April 2013 at the age
of 93.
Soleri authored several books,
including The Bridge Between Matter
& Spirit is Matter Becoming
Spirit and Arcology - City In the Image
of Man.

 He visited the United States in December 1946 and spent a
year and a half in fellowship with Frank Lloyd Wright
 During this time, he gained international recognition for a
bridge design that was displayed at the Museum of Modern
Art.
 He began building Arcosanti in 1970 with the help of
architecture and design students, as a place to test his
urban design hypotheses.
 Paolo and Colly Soleri made a lifelong commitment to
research and experimentation in urban planning. They
established the Cosanti Foundation, a 501-3C educational
non-profit foundation.

 Soleri's philosophy and works were strongly influenced by
the Jesuit paleontologist and philosopher Pierre Teilhard de
Chardin.
 With his arcosanti workshops and classes, Soleri popularized
the idea of ARCOLOGY- a cross between architecture and
ecology.
 His idea was that cities should reflect both human aspirations
as well as the shape and needs of the Earth’s environment.

 Arcology advocates cities designed to maximize the
interaction and accessibility associated with an urban
environment;
 minimize the use of energy, raw materials, and land, reducing
waste and environmental pollution; and allow interaction with
the surrounding natural environment.

WORKS
1. The Lean Linear City Project, China, 2005
2. Scottsdale Bridge Project, Arizona (USA), 1997
3. Hyper Building project, Tokyo (Japan), 1996
4. Glendale Community College Amphitheater, Arizona (USA), 1996
5. Pedestrian bridge, Scottsdale, Arizona (USA), 1992
6. Arcosanti 2000, 1991
7. Rainbow Pulse Bridge for Bering Strait (Russia), 1988
8. Santa Fe Amphitheater, Santa Fe, New Mexico (USA), 1966
9. Plan for Mesa City, a city of 2 million people on 55 thousand acres in Manhattan,
New York (USA), 1963
10. Ceramic windbells, Santa Fe, New Mexico (USA), 1954
11. Dome House, Cave Creek, Arizona (USA), 1949

• Paolo and Colly Soleri
made a life-long
commitment to research and
experimentation in urban
planning.
• Later in 1964, the Cosanti
Foundation, a not-for-profit
educational foundation was
established.
• The Foundation’s major
project is Arcosanti, a
prototype town in central
Arizona based on Soleri’s
concept of “Arcology,”
architecture coherent with
ecology.

• Yavapai County,
central Arizona,
• 70 mi (110 km) north
of Phoenix,
• at an elevation of 3,732 feet
(1,130 meters).
• The project has been building
an experimental town on 25
acres (10 ha) of a 4,060-acre
(1,640 ha) land preserve.

 Arcosanti is a planned
community of earthen-built
architecture.
 Arcosanti is a town of
about 5 thousand in Arizona
 which Soleri began building
in 1970 with the aid of
hundreds of volunteers
 an “urban laboratory” which
“contrasts with the big cities
and their degraded suburbs”
and has an essential role to
play in the evolution of the
“city of the future”.

• the intention of the project is to provide a model that can
demonstrate Soleri's concept of
"Arcology", architecture coherent with ecology.

 maximize human interaction with ready access to shared,
 cost-effective infrastructural services;
 conserve water and reduce sewage;
 minimize the use of energy, raw materials and land;
 reduce waste and environmental pollution;
 increase interaction with the surrounding natural environment.

 Ground was broken in 1970 to begin construction on the site,
 The most recently completed building was finished in 1989
 The population has tended to vary between 50 and 150 people,
many of them students and volunteers.
 Ultimately, the goal has been for Arcosanti to house a
population of 5,000 people.
 Thirteen major structures have been built on the site to date,
some several stories tall.
 One master plan, designed in 2001, envisions a massive
complex, called "Arcosanti 5000", that would dwarf the
current buildings.

• Arcosanti was conceived
of and remains primarily
an education center, with
students from around the
world visiting to attend
workshops, classes, and
to assist with the
continuing construction.
40,000 tourists visit
yearly.
• Tourists can take a guided
tour of the site or make
reservations to stay
overnight in guest
accommodations.

1. tilt-up concrete panels are cast in a bed of silt acquired from
the surrounding area, giving the concrete a unique texture and
color that helps it blend with the landscape.
2. Many panels were cast with embedded art.
3. Most buildings are oriented southward to capture the sun's
light and heat — roof designs admit the maximum amount of
sunlight in the winter and a minimal amount during the
summer.
4. The structure built to shelter bronze-casting is built in the
form of an apse, a quarter-sphere or semi-dome.

• The layout of all the buildings is intricate and organic, rather
than the grid typical of most US cities, with the goals of
maximum accessibility to all elements, a combination of
increased social interaction and bonds, together with privacy
for the residents.
1. a five-story visitors' center/cafe/gift shop;
2. a bronze-casting apse;
3. a ceramics apse;
4. two large barrel vaults;
5. a ring of apartment residences and quasi-public spaces
around an outdoor amphitheater;
6. a community swimming pool; an office complex, above
which is an apartment that was originally Soleri's suite. A
two-bedroom "Sky Suite" occupies the highest point in the
complex; it, as well as a set of rooms below the pool, is
available for overnight guests.

• Arcosanti has a Camp area,
built by and for the original
construction crew.
• It is used today as housing for
people most interested in
development of the agricultural
department.
• Camp has a small greenhouse,
with easy access to gardens and
large agricultural fields that as
of March 2017 were not being
cultivated.
• Terraced greenhouses are
planned along the slope of the
main building site for winter
plant and garden space, and to
collect heat to distribute
through the buildings.

• Location : arizona
• Paolo soleri and Mills together did this work.

• In the course of the early discussions after a visit to the site, the Cli
came up with the simple requirement that she “wanted something
that she could look at the sky from,”
• The site is a northwest-facing slope which drops to a wide arroyo
with expansive views to Elephant Mountain and the broad New
River Mesa to the north.
• The orientation of the main axis of the plan is slightly west of
north, with a curious yet unintentional alignment with Elephant
Mountain.
• The house blends with the slope slightly below the crest of the hills
to the south. What emerges from the slope is a glass dome on a
desert stone base, which escapes the slope altogether providing
entrance into the structure.

• The layout of the plan gives the appearance of a symmetry that
is not perceptible on site.
• Conversely, the interior of the space reveals a magical
asymmetry of contrast: the cave-like and simultaneously sky-
like qualities of the space.
• The cave-like level is compact and because of this assumes a
flared-out geometry

• A summer sleeping space opens to
the east, with a large operable
window and skylight allowing view
and ventilation to a large palo
verde that is immediately adjacent.
• An entry space opens to the west
with a studio/sleeping space
completing the opposite side of the
flared-out geometry. In the center is
a small bathroom with a shower.
• Natural light from a slot skylight
above is allowed to project through
a colored resin mural by Soleri to
the coat closet beyond.

 walls that form the kitchen
space. These walls are the
only interior load-bearing
structural features and are of
desert concrete,
 This was the primary
material for all external
walls and also for the roof,
with random stones exposed
in the ceiling plane

 The walls that shape
the kitchen are battered
up to the north and
support two integral
concrete roof beams on
either side of the slot
skylight.
 These cantilever from
the walls to the south,
supporting the north
edge of the dome
hovering above.
 The same walls anchor
in part the eleven-foot
elbowed cantilever of
reinforced concrete
that is both kitchen
counter and dining
table.

• The upper-level platform is ringed to the north by an
interior battered retaining wall of desert concrete that
forms a planter and bench seat where the bed platform
spans the lower-level seating area below.

 The dome itself was
composed of two halves
capable of rotating one
inside the other on circular
tracks, so that the space
could be fully closed or half
open.
 The half-dome on the
outside track was
aluminum-painted to
combat heat gain through
reflection.
 The existing dome, which
utilizes the original
aluminum T – sections, is
fixed, affording a 360-
degree view with
uninterrupted glass.
 The upper third of the dome
is metal-clad, with an
evaporative cooler providing
comfort in the summer heat.

 Other devices to which the design
of the Dome lent itself were a water
spray on the concrete slab roof to
augment the effect of heat
absorption by the desert concrete
walls and a circular copper water
tube to cool the air with a curtain
spray around the base of the dome.
 Then at the top of the stair is a
reflecting pool which has a
psychological function and is also
the source of water that flows down
grooves in the surface of concrete
ramp beneath the stair treads,
creating additional evaporative
surface.

 The spatial flow is a symphony
of movement through
contrasted volumes.
 One space, in the historical
tradition of desert building,
provides a volume that
moderates temperature swings,
with very few windows.
 The other space, in the modern
tradition, allows an escape
from the cave of the past;
flexible, it lets the outside in
while ensuring an intimate and
visually exciting relation with
nature.

I like elements which are hybrid
rather than ‘pure’ , compromising
rather than ‘clean’ , distorted
rather than ‘straightforward’ ,
ambiguous rather than ‘articulated’
, perverse as well as ‘impersonal’ ,
boring as well as ‘interesting’ ,
conventional rather than ‘designed’
, accommodating rather than
‘excluding’ , vestigial as well as
innovating inconsistent and
equivocal rather than ‘direct’ and
‘clear’.

ROBERT VENTURI
• Born -june 25 ,1925.
• Post modern architect of America.
• One of the major figures in the
architecture of the 20th century.
• Their buildings,planning,theoretical
writings and teaching have
contributed to the expansion of
discourse about architecture.

• Awarded the pritzker prize in 1991.
• Known for coining the maximum “Less is a
Bore” a post modern antidote to Mies Van Der
Rohe’s famous modernist dictum “Less is
More”.

CHARACTERISTICS
• Venturi’s buildings typically juxtapose architectural
systems,elements and aims to acknowledge the
conflicts often inherent in a projector site.
• Robert venturi is known for incorporating stylized
cultural icons into his buildings.
• However venturi is recognized for much more than
post modernist designs.
• The firm has completed more than 400 projects ,
each uniquely suited to the special needs of the
client.

PHILOSOPHIES
• Designs are eclectic. Ie. Draws inspiration from
varied sources , such as historic design styles
and popular culture , including contemporary
commercial architecture and advertising.
• Combination of design elements in
unexpected ways.
• Incorporates cultural icons into his building.

• Against the modernist tendency to treat buldings
as solitary objects without regard for their
settings,he argued that a building derives
meaning from its context,and different context
require different forms of architectural
expression.
• Complexity and contradiction vs simplification or
picturesqueness. Forced simplicity results in over
simplification, “Less is bore”.
• Ambiguity an architectural element is perceived
as form,struture,texture and material –sources of
ambiguity and tension characteristicto the
medium of architecture.

SHODHAN HOUSE
Is closed yet open a cube
VILLA SAVOYE
Is simple outside yet
complex inside.

• Contradictory levels: the phenomenon of ‘both-
and’ in architecture.
It involves the contrast metamorphosis as well as
the contradiction.
it relates the parts to the whole.
• Contradictory levels continued: the double
functioning element.
It pertains to the particulars of the use and
structure.
• Accommodation and the limitations of order: the
conventional elements.
eg –the arches and pilastes maintains itself
against the sudden impositions of “whimsical”
windows and asymmetrical voids.

• Contradiction adapted.
It adopts or comparises elements or it can
be adopted by using contrasting
superimposed or adjacent elements.
• Contradiction juxtaposed.
Juxtapose directions creates rhythmic
complexity and contradiction – contains
opposites within a whole.
The juxtaposition of diagonals and
perpendicular also create contradictory
directions.

• Inside and outside .
The purpose of the interiors is to enclose rather
than direct space.the inside is different from the
outside.sometimes the contradiction is between
the top and the bottom
Eg-curving domes and rectangular base.
• The obligation towards the difficult whole.
Holkham hall achieves an extensive whole
through the addition of similar wholes which are
always independent most of its bays are
pedimented pavilions which could stand alone as
single buildings .halkham hall could almost be
three buildings in a row.

VANNA VENTURI HOUSE
• Project Name : Vanna Venturi House
• Construction Year : 1964
• Architect : Robert V enturi
• Project Category : Residential
• Location : 8330 Millman
ST. Philadelphia,USA

• One of the first prominent works of the
post modern architecture movement, is
located in the neighbourhood of chestnut
hill in philadelphia,pencilvania.
• Designed by the architect Robert Venturi
for his mother Vanna Venturi .
• The house was sold in 1973 and remain a
private residence.

STRUCTURE
• The five room house stands only about 30
feet ( 9m ) tall at the top of the chimney,
but has a monumental front façade.
• A non structural applique arch and “hole in
the wall”windows, among other
elements,were challenge to modernist
orthodoxy.
• A house is designed around a chimney that
is centralised and goes all the way to the top
of the house.

• Externally, the house is built symmetrical.
Venturi has distorted this idea if
symmetry.
• There is also a basement underneath the
house that is often not uncovered by
people.

features
• 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 & glass 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 moderism.
• House is a composition of rectangular,curvilinear,
and a diagonal element coming together (or
sometimes juxtaposing eachother) in a way that
inarguably 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 fire place and
the height of the mantel compared to the
size of the 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 consist of
large distinct rooms with minimum
subdivisions between them.

Allen memorial art museum
• Project Name : Allen Memorial Art Museum
• Construction Year : 1917
• Architect : Cass Gilbert
• Project category : Museum
• Location : Oberlin , Ohio

• Primarily a teaching Museum , and a vital
cultural resourse for the students,faculty
and staff of Oberlin College.
• It was designed by Cass Gilbert,but additions
were made by Venturi and Associates.
• Constructed to meet the growing needs of
both the museum and Art department.
• Venturi had to address the necessary and
daily function s of the museum while
maintaining a visual flow with the old
building.

• Done by the use of colored pink granite
and sandstone serves as a visual cue to
associate the two structures synthetically.
• Venturi wanted to unify the physical
actualities of site and situation to the
design of the building , creating
structures which reflect their function in a
playful and harmonious way.

• The addition serve four primary purposes :
- to add a large gallery to the existing
museum,
- to increase facilities for the Art
department,
- to rehouse the art library,
-and to renovate the existing museum with a
print study room and new storage facilities.

Features
• The Art museum is a mixture of Beaux Art
ideals and Italian Renaissance design.
• The building has the appearance of an Italian
villa :
- Strict symmetry
- Classical arches, and
- Supported by columns.

• The checkboard pattern of the front piece of
Venturi’s addition is immediately noticeable.
• Continuity in color and geometrical
ornamentation that link the two buildings.
• The red granite and sandstone checkers of
Venturi take up the theme from Gilbert, visually
filling in the red geometric rectangular outlines
on the tan sandstone of the façade.
• Venturi is known for his references to
architectural terms using humorous analogies
such as “decorated sheds and ducks”.

• “Iconic column” – a short stubby column
cover composed of vertical wood boards
capped with iconic capital.
• Two large windows, one of which reveals a
view of the “iconic column” allow the
museum visitor to orient themselves to a
real and outside world within the “sacred
spaces” allowed for in the museum itself.
• Serves the functional purpose of concealing
a steel support beam.

Centre Pompidou, by Renzo Piano, Paris, France.
A Modern art museum constructed by high-tech steel and glass, built on 1976.

Works of Renzo Piano:
 Renzo Piano; (born 14 September 1937) is an Italian Pritzker Prize-winning architect.
Architecture critic Nicolai Ouroussoff said of Piano's works that the "...serenity of his
best buildings can almost make you believe that we live in a civilized world."
 In 2006, Piano was selected by TIME as one of the 100 most influential people in the world.
He was selected as the 10th most influential person in the "Arts and Entertainment"
category of the 2006 Time 100.
 He graduated from the University in 1964 with a dissertation about modular coordination
(coordinazione modulare) supervised by Giuseppe Ciribini and began working with
experimental lightweight structures and basic shelters.
 Piano was born in Genoa, Italy, in 1937, into a family of builders. He was educated and
subsequently taught at the Politecnico di Milano.
Career:
 From 1965 to 1970 he worked with Louis Kahn and Z.S. Makowsky. He worked together
with Richard Rogers from 1971 to 1977; their most famous joint project, together with the
Italian architect Gianfranco Franchini (it) is the Centre Georges Pompidou in Paris (1971).
 He also had a long collaboration with the engineer Peter Rice, with whom he shared a
practice (L'Atelier Piano and Rice) between 1977 and 1981.
 In 1981, Piano founded the Renzo Piano Building Workshop, which today employs 150
people and maintains offices in Paris, Genoa, and New York City.
 In 1994, Renzo Piano won the international competition for the new Auditorium in Rome.
The Auditorium Parco della Musica, a large multi-functional public music complex situated
in the north of city, was inaugurated in 2002.

 In 1999, Piano designed a watch entitled "Jelly Piano (GZ159)" for the Swatch Summer
Collection. The watch design is clear and the exposed inner workings were influenced by
his Centre Georges Pompidou design.
 In 2001, he designed the Maison Hermes store in Ginza, Tokyo in the design of a
traditional Japanese magic lantern. It is forty-five meters tall by eleven meters wide.
 Piano's recent expansion of the Art Institute of Chicago includes a 264,000-square-foot
(24,500 m2) wing with 60,000 square feet (5,600 m2) of gallery space called the Modern
Wing, which opened on 16 May 2009. It includes a "flying carpet", a sunscreen that hovers
above the roof and a 620-foot (190 m) steel bridge connecting Millennium Park to a
sculpture terrace that leads into a restaurant on the wing’s third floor.
 On 30 August 2013 he was appointed senator for life because of his "outstanding cultural
achievements" by the President of the Italian Republic.
Selected projects:
The New York Times Building, New York
Shard London Bridge,
London, UK (2012)
Kansai International Airport,
Osaka, Japan (1991–1994)
Nemo Science Centre in
Amsterdam. The shape reflects
the tunnel entrance it is built on

Cavaliere di Gran Croce Ordine al Merito della Repubblica Italiana, 24 March 1990
Italian Order of Merit for Culture and Art, 28 March 1994
In 1989, Piano was the recipient of the Royal Gold Medal.
In 1990, Piano was the recipient of the Kyoto Prize.
In 1995, Piano was the recipient of the Praemium Imperiale
In 1998, Piano was the recipient of the Pritzker Architecture Prize.
In 2008, Piano was the recipient of the AIA Gold Medal.
In 2008, Piano was the recipient of the Sonning Prize.
In 2002, Piano was the recipient of the International Union of Architects#UIA Gold Medal.
In 2013, Piano was elected into the National Academy of Design
Awards:
Kansai Airport, by Renzo Piano, Japan.
 The huge, long building stretching 1.7 kilometers alongside the 3,500-meter runway is the
passenger terminal building.
 The world's first international airport on the sea.
 "Kansai International Airport" was built on a man-made island on the sea, about five
kilometers off the coast of Senshu in Osaka Bay. It opened on September 4, 1994.
 The new airport was planned with the theme of harmony with nature, to achieve "a man-
made island airport five kilometers out to sea." Construction took seven and a half years
from the start of land reclamation work to the airport's opening.
 Currently there is only one runway, but as the new gateway to Japan's skies, there are
grand plans to ultimately extend it to three runways, transforming it into an international
hub airport.

 The airport's construction site is situated 5 kilometers off Sanchu district in about 18
meters of water and where the seabed is extremely soft. The man made island is about 5
kilometers square and surrounded by a seawall with average high 23 meters.
Design Concept:

 As the whole structure had to fit on a man made island, space consideration was an
important factor when designing the kansai airport it had to be able to fit parking
structure and the run way ,as well as the facilities required for high tech airport.

 The chosen shape was that of a torroid, and is pretty obvious when observing the
structure from outside.
 The torriod, a spherical shape like that of a bicycle tire, would allow the center of
the terminal to be as high as 85 feet, and yet taper to twenty feet at the wings.

A sketch for the airport's idea by RENZO PIANO

 This innovative design allows the second floor to house forty-one gates at a distance of
one mile, making this terminal the longest building in the world.
 The continuously curving and tapering aerofoil shape as projected from the outside
completes this architectural masterpiece

 This settlement was counteracted by the use of hydraulic jacks, diaphragm walls, and the
seawall built around the island. On one side there was a road and on the other side a field
where air craft landed into the wind.

ENTRANCE:
Another distinctive design element is the four-story-high "canyon" which greets
visitors as they enter the main terminal building from a connecting concourse.

THE ATRIUM:
The atrium is the center of this structure, and gives the structure the resemblance of a bird from the out
side with giant wings out stretched on both sides. all four floors of the terminal can be seen from this
point.

Structure of the atrium:
The most amazing aspect of this design is that there is no objects to obstruct the view of the
passengers in any direction.

This innovative design allows the second floor to house forty-one gates at a distance
of one mile , making this terminal the longest building in the world.

One problem that ended up with an innovative solution was an issue that the mechanical
engineers were faced with when designing a system to air condition such a large,
unobstructed space. A stream of air flowing across the airfoil shape of the outer shell
would transfer the flow twice as far as would a flat surface.

One of the terminal's interesting design features is its roof support system , which consists of
consecutively placed, large-span tubular steel trusses whose curved contours suggest the edge of a
Japanese – style sword. The configuration of the individual trusses crafted from a single continuous piece
of steel is alerted slightly to achieve the gentle downword roof slope of the terminal wings.

AIRSIDE GLAZING :
consists of repeated uniform identical sized panels.
A lot of the structure is glass, including infrared absorbant glass used to give a contrast with the roof materials. This reduces the
heat burden and gives a higher sense of a floating roof.
Structural Elements

ENDWALL GLAZING :
This is also composed of infrared absorbent tempered glass. An important factor to consider was how to create the facade and its
light materials. Steel was the major element used in construction. All the members of the bow truss were painted with a special
paint to avoid rust formation, and the roof appears to sail upwards.

FIRE CLADING :
From the earlier planning stages, the design has been proceeded to make clear distinction between the portions with
fireproof coating and those without.

TRUSSES:
The inverted triangle shaped trusses are referred to as the 'A' truss type, and this constitutes the 18 trusses of the structure.
Each of these is supported by inclining colums, and on the curbside, by vertical columns. The height gradually decreases
towards the airside, giving it the wing-shell structure.

METAL PANELS:
Small variations of angles are absorbed at the joints, allowing the entire roof to be covered with a single type of panel
DULL FINISH:
In order to make sure that the roof disperses light rather than reflect it when viewed from the control tower or cockpit
of a plane, a dull finish was preferred

LIGHTING :
During the daytime, there is a dynamic combination of artificial and natural light,
with soft airy light from the open air ducts and sharp and clear light flowing in
from above the trusses.

SOUND :
Soundproof rock-wool boards cover the ceiling roof, and this material placed between the 2 upper chords of the trusses
is raised to a point at which the secondary structure can be seen. On the other hand, between trusses, the celing is
hung so that the finished ceiling surface meets the center line of the upper chords.

THE ROOF:
The roof descends towards the roof end and down pipes are attached every 2 spans on the inside of the glass. The
glass surface is simply attached on the front of the mullions. The Wing ribs pass through the glass, and are connected
to outside columns by pins

STAINLESS STEEL PANELS : The roof in traditional Japanese architecture constitutes an extremely large part of the
whole building. Metal panels were placed over the steel deck to enhance the design effect of a single roof covering the
entire structure.
BENT SHEETS OF STEEL DECK: It provides insulation and drainage. A layer of air passes
between the bent sheet and the stainless steel panels, reducing the burden of high
temperatures.

DULL FINISH : The roof must disperse rather than reflecting light when viewed from the
control tower or cockpit of a plane.
METAL PANELS : Choices of materials were constrained by consideration of the fact that the
building was being constructed on a landfill island surrounded by sea.

Metal panels were placed over the steel deck to enhance the design effect of a single
roof covering the entire structure .

Works of Richard Rogers:
 Richard George Rogers, Baron Rogers of Riverside (born 23 July 1933) is a British architect
noted for his modernist and functionalist designs.
 Rogers is perhaps best known for his work on the Pompidou Centre in Paris, the Lloyd's
building and Millennium Dome both in London, the Senedd in Cardiff, and the European
Court of Human Rights building in Strasbourg. He is a winner of the RIBA Gold Medal, the
Thomas Jefferson Medal, the RIBA Stirling Prize, the Minerva Medal and Pritzker Prize.
Early life and career
 Rogers was born in Florence in 1933. He went to St Johns School, Leatherhead upon
moving to England, and later attended the Architectural Association School of Architecture
in London, before graduating with a master's degree from the Yale School of Architecture
in 1962.
 While studying at Yale, Rogers met fellow architecture student Norman
Foster and planning student Su Brumwell. Rogers and Foster earned a
reputation for what was later termed by the media high-tech
architecture.
Lloyd's building in 1991
Madrid-Barajas Airport
terminal 4
Senedd, National
Assembly for Wales
Aerial view of the
Millennium Dome

 This building established Rogers's trademark of exposing most of the building's services
(water, heating and ventilation ducts, and stairs) on the exterior, leaving the internal
spaces uncluttered and open for visitors to the centre's art exhibitions.
 Rogers revisited this inside-out style with his design for London's Lloyd's building,
completed in 1986 – another controversial design which has since become a famous and
distinctive landmark in its own right.
Later career:
 After working with Piano, Rogers established the Richard Rogers Partnership along with
Marco Goldschmied, Mike Davies and John Young in 1977.This became Rogers Stirk
Harbour + Partners in 2007. The firm maintains offices in London, Shanghai and Sydney.
 Rogers has continued to create controversial and iconic works. Perhaps the most famous
of these, the Millennium Dome, was designed by the Rogers practice in conjunction with
engineering firm Buro Happold and completed in 1999. It was the subject of fierce political
and public debate over the cost and contents of the exhibition it contained; the building
itself cost £43 million.
The Richard Rogers Partnership:
•Lloyd's building, London, UK (1978–84)
•Fleetguard Manufacturing Plant, Quimper, France (1979–1981)
•Inmos microprocessor factory, Newport, Wales (1980–1982)
•Parco Lineare Arno River, Firenze, Italy (1982)
•PA Technology Centre, Princeton, New Jersey, USA (1982–1985)
•Old Billingsgate Market, London, UK (1985–1988)
•Centre Commercial St. Herbain, Nantes, France (1986–1987)

•The Deckhouse, Thames Reach, London, UK (1986–1989)
•Paternoster Square, London, UK (1987)
•Linn Products, Waterfoot, Glasgow (1988)
• 45 Royal Avenue, London, UK (1987)
•Reuters Data Centre, London, UK (1987–1992)
•Kabuki-cho Tower, Tokyo, Japan (1987–1993)
•Antwerp Law Courts, Belgium (2000–2006)
•Marseille Provence Airport, Marignane, France (1989–1992)
•Heathrow air traffic control tower, London, UK (1989–2007)
•Channel 4 headquarters, London, UK (1990–1994)
• European Court of Human Rights building, Strasbourg, France, 1995
•88 Wood Street, London, UK (1990–1999)
•Tower Bridge House, London, UK (1990–2005)
•Daimler complex, Potsdamer Platz, Berlin (1993–1999)
•Palais de Justice de Bordeaux, Bordeaux, France (1993–1999)
•Montevetro, London, UK (1994–2000)
•Lloyd's Register building, London, UK (1995–1999)
•Minami-Yamashiro Primary School, near Kyoto, Japan (1995–2003)
•Millennium Dome, London, UK (1996–1999)

Millennium Dome:
 The Millennium Dome, colloquially referred to simply as The Dome, is the original name
of a large dome-shaped building, originally used to house the Millennium Experience, a
major exhibition celebrating the beginning of the third millennium.
 Located on the Greenwich Peninsula in South East London, England, the exhibition was
open to the public from 1 January to 31 December 2000, a year before the new
millennium began, and closed on the eve of the beginning of the new millennium.
Construction:
The roof seen from the Top
 The dome is one of the largest of its type in the
world. Externally, it appears as a large white
marquee with twelve 100 m-high yellow support
towers, one for each month of the year, or each
hour of the clock face, representing the role played
by Greenwich Mean Time.
 In plan view it is circular, 365 m in diameter. It has
become one of the United Kingdom's most
recognisable landmarks.
 It can easily be seen on aerial photographs of London. Its exterior is reminiscent of the
Dome of Discovery built for the Festival of Britain in 1951.
 Although referred to as a dome it is not strictly one as it is not self-supporting, but is in
fact a giant Big Top, the canopy being supported by a dome-shaped cable network, from
twelve king posts. For this reason, it has been disparagingly referred to as the Millennium
Tent.

 As with all tent canopies, the roof has a finite,
weathering, life and once this is reached the decision
will need to be made, either to replace it, at
enormous cost, or to remove the entire structure.
 The canopy is made of PTFE-coated glass fibre fabric,
a durable and weather-resistant plastic, and is 52 m
high in the middle – one metre for each week of the
year. Its symmetry is interrupted by a hole through
which a ventilation shaft from the Blackwall Tunnel
rises.
The dome, seen from the Emirates Air Line
Millennium Experience:
After a private opening on the evening of 31 December 1999 the Millennium Experience at
the Dome was open to the public for the whole of 2000, and contained a large number of
attractions and exhibits.
Redevelopment and rebranding as The O2:
 By late 2000, a proposal had been made for a high-tech business park to be erected under
the tent area, creating an "indoor city" complete with streets, parks, and buildings.
 The business park was actually the original 1996 proposal for the site of the peninsula
before the plans for the Millennium Dome were proposed.
 In December 2001, it was announced that Meridian Delta Ltd. had been chosen by the
government to develop the Dome as a sports and entertainment centre, and to develop
housing, shops and offices on 150 acres (0.61 km2) of surrounding land.

 It also hoped to relocate some of London's tertiary education establishments to the site.
Meridian Delta is backed by the American billionaire Philip Anschutz, who has interests in
oil, railways, and telecommunications, as well as a string of sports-related investments.
 The dome was publicly renamed as The O2 on 31 May 2005, in a £6 million-per-year deal
with telecommunications company O2 plc, now a subsidiary of Telefónica Europe.
 This announcement, which presaged a major redevelopment of the site that retained little
beyond the shell of the dome, gave publicity to the dome's transition into an
entertainment district including an indoor arena, a music club, a cinema, an exhibition
space and bars and restaurants.
 During the 2012 Summer Olympics, the artistic gymnastics events, along with the medal
rounds of basketball, were held at The O2. It also held wheelchair basketball events during
the 2012 Summer Paralympics. For sponsorship reasons, during those times the arena was
temporarily renamed the North Greenwich Arena.
The Millennium Dome Show The Millennium Dome at night, September 2001

Álvaro Siza Vieira:
 Álvaro Joaquim de Melo Siza Vieira, is a Portuguese architect, and
Architectural educator, born 25 June 1933 in Matosinhos a small
coastal town by Porto. He is internationally known as Álvaro Siza
Life and career:
 He graduated in architecture in 1955, at the former School of Fine
Arts from the University of Porto, the current FAUP – Faculdade de
Arquitectura da Universidade do Porto.
 He completed his first built work (four houses in Matosinhos) even
before ending his studies in 1954, the same year that he first opened his private practice
in Porto. Siza Vieira taught at the school from 1966 to 1969, returning in 1976.
 In addition to his teaching there, he has been a visiting professor at the Graduate School
of Design, Harvard University; the University of Pennsylvania.
 Most of his best known works are located in his hometown Porto: the Boa Nova Tea
House (1963), the Faculty of Architecture (1987–93), and the Serralves Museum of
Contemporary Art (1997).
 Since the mid-1970s, Siza has been involved in numerous designs for public housing,
public pools, and universities. Between 1995 and 2009, Siza has been working on an
architecture museum on Hombroich island, completed in collaboration with Rudolf
Finsterwalder.

Selected projects:
 1958-1963: Boa Nova restaurant in Matosinhos
 1958-1965: Quinta de Conceição swimming-pool
 1959-1973: Leça da Palmeira swimming-pool
 1962: Miranda Santos House
 1964: Beires House ("The Bomb House"), Póvoa de Varzim (Project)
 1981-1985: Avelino Duarte House Ovar
 1987-1993: Faculty of Architecture of the University of Porto
 1988: Rebuilding plans of the Chiado neighbourhood after a fire, Lisbon
 1991-2000: Residential buildings ("Siza tower"), Maastricht, Netherlands
 1994: Vitra (furniture) factory hall, Weil am Rhein
 1995: Revigrés exhibition and sales hall at Águeda
 1995: Library of the University of Aveiro
 1997: Serralves Museum of Contemporary Art (Photos)
 1998: Architectural Practice, Porto (Photos)
 1998 Lisbon Metro Station Baixa Chiado
 1998: Pavilion of Portugal in Expo'98, Lisbon
 2002: Southern Municipal District Center, Rosario, Argentina (first work by Siza in South America)
 2005: Serpentine Gallery Pavilion 2005
 2005 Porto Metro Station Sao Bento
 2007-2010 Mimesis Museum in Paju Book City, Seoul.
 2008: Iberê Camargo Foundation, Porto Alegre, Brazil.
 2009: New Orleans residential tower, Rotterdam, Netherlands.
 2011/2012 "Alvaro Siza. Viagem sem Programa" Art work collection of his sketches and drawings.
Museum Fondazione Querini Stampalia Venice, Italy
 2012 "Il Giardino delle Vergini" Pavilion Giardini della Biennale, Venice Biennale of Architecture,
Italy.

 The Boa Nova Tea House was designed
following a competition held in 1956 by the
city council and won by Portuguese architect
Fernando Tavora.
 After choosing a site on the cliffs of the
Matosinhos seashore, Tavora turned the project
over to his collaborator, Alvaro Siza.
 One of Siza's first built projects, it is significant that the restaurant is not far from the town
of Matosinhos where the architect grew up, and set in a landscape that he was intimately
familiar with. It was still possible in Portugal of the 1960s to make architecture by working
in close contact with the site, and this work, much like the Leça Swimming Pools of 1966, is
about 'building the landscape' of this marginal zone on the Atlantic - through a careful
analysis of the weather and tides, existing plant life and rock formations, and the
relationship to the avenue and city behind.
 Removed from the main road by some 300 meters, the building is accessed from a nearby
parking lot through a system of platforms and stairs, eventually leading to an entry
sheltered by a very low roof and massive boulders characteristic to the site.
 This architectural promenade, a sinuous path clad in white stone and lined by painted
concrete walls, presents several dramatic perspectives of the landscape as it alternatively
hides and reveals the sea and the horizon line.

 The restaurant's west-facing dining room and
tea room are set just above the rocks, and
joined by a double-height atrium and stair,
with the entrance being on a higher level.
 The kitchen, storage and employee areas are
half-sunken in the back of the building,
marked only by a narrow window and a mast-
like chimney clad in colored tiles. Forming a
butterfly in plan, the two primary spaces
open gently around the sea cove, their
exterior walls following the natural
topography of the site.
 The tea room has large windows above an
exposed concrete base, while the dining
room is fully glassed, leading to an outdoor
plateau. In both rooms, the window frames
can slide down beneath the floor, leaving the
long projecting roof eaves in continuum with
the ceiling.
 This creates an amazing effect in the summer,
when it is possible to walk out from the
dining room directly to the sea, as the
building seems to disappear.

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