Modern and Post Modern Architecture

History of
Architecture
IV
Assignment
Mayank Dubey
123521050021
ITM SAAD
Assignment History of Architecture IV
A. Discuss
1) Architectural elements, Stylistic features of Modern & Post-Modern

architecture
a) Modern:
Modernist architecture, or modernism, is a style that emerged in the early-20th century

in response to large-scale changes in both technology and society. It is associated with
the function of buildings, approached from an analytical viewpoint, a rational use of
materials, the elimination of ornament and decoration, and openness to structural
innovation.
One of the overarching principles of modernism was that ‘form follows function’,
meaning that design should derive directly from purpose. Another was that building
form should have a simplicity and clarity, with the elimination of unnecessary detail.
There was also the concept of ‘Truth to materials’, which held that rather than
concealing or altering the natural appearance of a material, it ought to be visible and
celebrated.
Principles and characteristics:
 Lack of ornament: Decorative mouldings and elaborate trim are eliminated or

greatly simplified, giving way to a clean aesthetic where materials meet in simple,
well-executed joints.
 Emphasis of rectangular forms and horizontal and vertical lines: Shapes of houses are
based boxes, or linked boxes. Materials are often used in well-defined planes and
vertical forms juxtaposed against horizontal elements for dramatic effect.
 Low, horizontal massing, flat roofs, emphasis on horizontal planes and broad roof
overhangs: Modern homes tend to be on generous sites, and thus many, but not all,
have to have meandering one-story plans. Many examples hug the ground and
appear of the site, not in contrast to it.
 Use of modern materials and systems: Steel columns are used in exposed
applications, concrete block is used as a finished material, concrete floors are
stained and exposed, long-span steel trusses permit open column-free spaces, and
radiant heating systems enhance human comfort.
 Use of traditional materials in new ways: Materials such as wood, brick and stone are
used in simplified ways reflecting a modern aesthetic. Traditional clapboard siding
are replaced with simple vertical board cladding used in large, smooth planes. Brick
and stonework are simple, unornamented, and used in rectilinear masses and planes.
 Emphasis on honesty of materials: Wood is often stained rather than painted to
express its natural character. In many cases exterior wood is also stained so that the
texture and character of the wood can be expressed.
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 Relationship between interior spaces and sites: Use of large expanses of glass in effect
brings the building’s site into the building, taking advantage of dramatic views and
natural landscaping.
 Emphasis on open, flowing interior spaces: Living spaces are no longer defined by
walls, doors and hallways. Living, dining and kitchen spaces tend to flow together as
part of one contiguous interior space, reflecting a more casual and relaxed way of
life.
 Generous use of glass and natural light: Windows are no longer portholes to the
outside, but large expanses of floor to ceiling glass providing dramatic views and
introducing natural light deep into the interior of homes.
 Use of sun and shading to enhance human comfort: The best modern homes are
efficient. They are oriented to take advantage of nature’s forces to provide passive
solar heating in the winter, while long overhangs and recessed openings provide
shading to keep homes cool in the summer.
Stylistic Features:
 Components positioned at 90-degrees to each other and an emphasis on horizontal

and vertical lines.
 The use of reinforced concrete and steel.
 Visual expression of the structure rather than hiding structural elements.
 Following the ‘machine aesthetic’ in the use of materials produced by industrial
processes.
 Rectangular, cylindrical and cubic shapes
 Asymmetrical compositions.
 A lack of ornament or mouldings.
 Large windows set in horizontal bands.
 Open plan floors.
 White or cream facades.
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b) Post Modern:
Postmodern architecture is a style or movement which emerged in the 1960s as a

reaction against the austerity, formality, and lack of variety of modern architecture,
particularly in the international style advocated by Philip Johnson and Henry-Russell
Hitchcock. The movement was introduced by the architect and urban planner Denise
Scott Brown and architectural theorist Robert Venturi. The style flourished from the 1980s
through the 1990s, particularly in the work of Scott Brown & Venturi, Philip Johnson,
Charles Moore and Michael Graves. In the late 1990s, it divided into a multitude of new
tendencies, including high-tech architecture, neo-futurism and deconstructivism.
Postmodernism’s emergence and proliferation was a direct response to the rise of art
movements like modernism, a style that discouraged the use of historical reference in
architecture. Postmodern architecture focused on free-thinking design with conceptual
consideration to the surrounding environment. These considerations included
integrating the design of adjacent buildings into new, postmodern structures, so that
they had an element of cohesiveness while still making an impact.
In practice, postmodern architecture moved away from the rigid formalities of

modernism and began to incorporate stylistic references that were often playful and
symbolic, using techniques such as shape, colour and trompe l’oeil; applying elements
and structural forms from classical architecture to modern designs.
Characteristics:
While postmodern buildings were meant to serve a function—as with modernism—

postmodernism encouraged creativity and strayed from the rigid rules of modern ideals
that dictated simplicity, abstraction, and simple shapes.
By mixing a variety of architectural motifs and elements from the Arts and Crafts
movement, classicism, neoclassicism, and many other architectural styles, postmodern
architecture looked to create buildings that not only honored their local history, but had
a unique visual appeal as well.
Postmodern buildings had curved forms, decorative elements, asymmetry, bright

colours, and features often borrowed from earlier periods. Colours and textures were
unrelated to the structure or function of the building.
Rejecting the "puritanism" of modernism, it called for a return to ornament, and an

accumulation of citations and collages borrowed from past styles. It borrowed freely
from classical architecture, rococo, neoclassical architecture, the Viennese secession,
the British Arts and Crafts movement, the German Jugendstil.
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 Asymmetry
Asymmetry was a pillar of the postmodern movement because of its ability to capture attention
and create unique buildings that stood out. Sloping pillars, walls, and contrasting structures were
commonplace in postmodern works and offered new perspective on what it meant to be a
functional building. The juxtaposition of these angles and lines captivated audiences and
helped establish postmodernism as a movement to watch. The Groninger Museum showcases
this asymmetry through its use of varying shapes, colors, and mediums throughout each of its
three main pavilions.
 Humour
Both humor and camp, an ironic movement of gaudy art that was perceived as
beautiful, were used interchangeably throughout the postmodern era, particularly in the
United States. And while the postmodern movement began as a rebellion against the
rigidity of modernism, camp postmodern work took rebellion to new levels. Theatrical
buildings, like Hotel Dolphin (1987) in the Walt Disney World Resort in Orlando, Florida,
were famous for their use of humor and overindulgence. By reaching the extremes of
what a building could look like, camp architects challenged formality and encouraged
creativity in new construction and design.
 Fragmentation
Postmodern architects were known for creating fragmented buildings that, while still
connected as one building, took on the appearance of several different buildings that
served various functions.
This is epitomized by the Guggenheim Museum Bilbao, as titanium, the medium used to
create this work, changes color depending on the surrounding light. This helped bring
new life to the building depending on the time of day that the structure is viewed,
offering a totally different aesthetic in daylight than in the evening.
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 Complexity
Complexity can be used to describe all postmodern works, as the integration of a variety
of colors, textures, shapes, and themes construct the framework of these unique buildings.
Complexity was used to pivot away from the uniformity of modernism and establish a new
style of design.
 Colours
Color helps transform traditional buildings into artwork and brings ordinary facades to life.
Typically, colored glass, ceramic tiles and stones are used on exterior surfaces, while bold
primary colors and metallics are common for interior Postmodern design
 Textures
Texture plays a key role in making Postmodern architectural structures unique. Architects
specializing in this area tend to break up large commercial buildings into different, smaller
structures to represent their meaning and function.
2) Architectural elements, Stylistic features of Modern & Post-Modern

architecture
Modern Indian structures didn't even start coming around until after India gained
independence from the British in 1947. Post 1947, Indian architecture was at a standstill in
terms of progression; there was no unique identity being formed. However, when the Indian
Punjab government took on world famous architect Le Corbusier to design the city of
Chandigarh.
Architects working in India began to draw inspiration in the years following Le Corbusier's
work, and thus began a more rapid evolution of modern architecture. Today we see
traditional character in Indian architecture, but with modern form and style. Building is less
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ornate and more expressive in form. Materials are basic, but cutting edge. The use of steel
and glass to erect innovative building forms is very popular and striking in the landscape.
Chandigarh, the stridently modern and progressive new capital city that was being built
from scratch for the Indian state of Punjab, had been boldly projected by the prime minister
of the new-born Indian republic as an architectural and urban ‘symbol of the nation’s faith
in the future’.
Characteristics:
 Clean, minimal lines. These lines lack additional ornamentation and are
generally consistent, smooth texture.
 Broad roof overhangs. Several modern homes emphasize low, horizontal

structures with large roof overhangs.
 Walls of glass and large windows. You will find a very generous use of glass,
which allows a significant amount of natural light into the interior.
 Open and well-defined floorplans. Since modern architecture focuses on form

over function, architects sought to include large, spacious floorplans with
dining and living spaces that flowed into one another.
 Modern and traditional building materials. Some common materials in

modern homes include steel, concrete block, iron, and glass. More
conventional building materials like wood, brick, and stone were used in
more straightforward ways to show off their natural beauty.
 A relationship to the outside environment. A lot of thought when into building

sites
One of the best examples of modern architecture retaining its traditional roots is the Lotus
temple in New Delhi. The architect Fariborz Sahba took the traditional lotus symbol and
gave it a modern touch.
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3) Characteristics and ideas of functionalism in Bauhaus
Modern architecture often features bold, clean lines, and simple functionality, from mid-
century modern to Scandinavian minimalism. You can trace all of these design trends back
to a school of architecture that began in early twentieth-century Germany: the Bauhaus
school.
Characteristics:
1. Functional Shapes.
Bauhaus design features little to no embellishment or ornamentation, instead drawing
attention to the streamlined design. For example, many Bauhaus buildings have flat roofs
to create a simple, geometric look. Tubular chairs—simple chairs held up by an angular
length of steel tubing—are another quintessential example of Bauhaus interior design’s
beautiful functionality: functional and straightforward, with geometric shapes and few
extraneous details. Another popular characteristic of Bauhaus design is abstract shapes,
used sparingly in decoration, and a functional option for mass production.
2. Simple Color Schemes.

Bauhaus design aims for cohesion and simplicity, so architectural color schemes are often
limited to basic industrial colors like white, gray, and beige. In interior design, primary colors
are often used—tones of red, yellow, or blue—sometimes all together but more often in
focused, deliberate ways (such as a single red wall, or a yellow chair).
3. Industrial Materials.
Since the Bauhaus movement focuses on simplicity and industrialism, it most often tries to
incorporate the fewest different materials possible, all of which are considered industrial,
modern materials. These materials include glass (especially in ribbon windows or glass
curtain walls), concrete (especially in building design, and steel (especially in appliances
and objects like lamps and chairs).
4. Balanced Asymmetry.
Bauhaus architecture and design aimed for visual balance through asymmetry. (Symmetry
was considered too industrial without any artistic heart.) As a result, Bauhaus designers
worked to unite and balance buildings and rooms by incorporating the same elements
throughout (for instance, the same materials and shapes, or repeating colors) without
making both sides the same. A landmark example of this is the Bauhaus building in Dessau,
which includes several different shapes and angles while remaining cohesive with white
paint and extensive window designs.
5. Holistic Design.
Among the essential tenets of Bauhaus design is integrating the school’s techniques into
every element of life, including city design, street corners, building architecture, furniture
design, appliances, eating utensils, and typography. This holistic, integrated approach
requires the designer to keep the school’s tenets at the forefront of every choice they make
when designing a room or building look in the Bauhaus style.
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Principles
1. No border between artist and craftsman. In a pamphlet for an April 1919 exhibition,
Gropius stated that his goal was to create a new guild of craftsmen, without the class
distinctions which raise an arrogant barrier between craftsman and artist. It is said in
the manifesto,that architects, sculptors, painters, we must all turn to the crafts!
2. The artist is an exalted craftsman. In rare moments of inspiration, moments beyond

the control of his will, the grace of heaven may cause his work to blossom into art.
But proficiency in his craft is essential to every artist. Therein lies a source of creative
imagination.
3. Form follows function. According to this idea, simple but elegant geometric shapes
were designed based on the intended function or purpose of a building or an
object. Though the functionality needn’t be boring as we can see from the Bauhaus
buildings.
4. The ‘complete work of art’. Gesamtkunstwerk means a synthesis of multiple art forms
such as fine and decorative arts. A building and its architecture was only one part
of the concept. The other part is design.
5. True materials. Materials should reflect the true nature of objects and buildings.
Bauhaus architects didn’t hide even brutal and rough materials.
6. Minimalism. Bauhaus artists favored linear and geometric forms, avoiding floral or
curvilinear shapes.
7. Emphasizes on technology. Bauhaus workshops were used for developing

prototypes of products for mass production. The artists embraced the new
possibilities of modern technologies.
8. Smart use of resources. Bauhaus ideology is characterized by the economic way of

thinking. The representatives of the Bauhaus movement wanted to achieve
controlled finance, productive time-consuming projects, precise material use, and
a spare space.
9. Simplicity and Effectiveness. There is no need for additional ornamenting and

making things more and more ‘beautiful’. They are just fine as they are.
10. Constant development. Bauhaus is all about new techniques, new materials, new
ways of construction, new attitude – all the time. Architects, designers, and artists
have to invent something new all the time. Thus Bauhaus influenced the new forms
of arts like graphic design which emerged 100 years ago. Bauhaus also led to the
emergence of new forms of interior design
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4) Constructivism and Deconstructivism
a) Constructivism
Constructivist architecture, or ‘constructivism’, is a form of modern architecture that

developed in the Soviet Union in the 1920s. Inspired by the Bauhaus and the wider
constructivist art movement that emerged from Russian Futurism, constructivist architecture
is characterised by a combination of modern technology and engineering methods and
the socio-political ethos of Communism. Despite there being few realised projects before
the movement became outdated in the mid-1930s, it has had a definite influence on many
subsequent architectural movements, such as Brutalism.
The fundamental tension of Constructivist architecture was the need to reconcile the
economic reality of the USSR with its ambition for using the built environment to engineer
societal changes and instill the avant-garde in everyday life.
Architects hoped that through constructivism, the spaces and monuments of the new
socialist utopia, the ideal of which the Bolshevik revolution had waged, could be realised.
As such, constructivist architecture was used to build utilitarian projects for the workers, as
well as more creative projects such as Flying City, that was intended as a prototype for
airborne housing.
The main characteristic of constructivism was the application of 3D cubism to abstract and
non-objective elements. The style incorporated straight lines, cylinders, cubes and
rectangles; and merged elements of the modern age such as radio antennae, tension
cables, concrete frames and steel girders.
The possibilities of modern materials were also explored, such as steel frames that supported
large areas of glazing, exposed rather than concealed building joints, balconies and sun
decks.
The style aimed to explore the opposition between different forms as well as the contrast
between different surfaces, predominately between solid walls and windows, which often
gave the structures their characteristic sense of scale and presence.
The first and perhaps most famous project was one an unrealised proposal for Tatlin’s Tower,
the headquarters of the Comintern in St. Petersburg. Many subsequent, ambitious projects
were not actually built, but Russia’s fourth-largest city Yekaterinburg is regarded as a
‘Constructivist museum’ including 140 built examples of the form. Another famous surviving
example is the social housing project Dom Narkomfin in Moscow.
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b) Deconstructivism
Deconstructivism is a movement of postmodern architecture which appeared in the 1980s.

It gives the impression of the fragmentation of the constructed building, commonly
characterised by an absence of obvious harmony, continuity, or symmetry. Its name is a
portmanteau of Constructivism and "Deconstruction", a form of semiotic analysis
developed by the French philosopher Jacques Derrida.
The term Deconstructivism in contemporary architecture is opposed to the ordered

rationality of Modernism and Postmodernism. Deconstructivism took a confrontational
stance to architectural history, wanting to "disassemble" architecture.[5] While
postmodernism returned to embrace the historical references that modernism had
shunned, possibly ironically, deconstructivism rejected the postmodern acceptance of
such references, as well as the idea of ornament as an after-thought or decoration.
Besides fragmentation, deconstructivism often manipulates the structure's surface skin and
deploys non-rectilinear shapes which appear to distort and dislocate established elements
of architecture. The finished visual appearance is characterized by unpredictability and
controlled chaos.
It attempts to move away from the conventions of modernism that can be viewed as
‘constricting rules’, such as the notions that ‘form follows function’, ‘purity of form’, and
‘truth to materials’.
Deconstructivism developed out of the postmodern style and first gained widespread
attention in 1988 with an exhibition entitled ‘Deconstructivist Architecture’ in New York’s
Museum of Modern Art. The exhibition featured the work of architects such as Frank
Gehry, Rem Koolhaas and Zaha Hadid. Where deconstructivism deviates from the
postmodernist style in its rejection of ornament as decoration.
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Two strains of modern art, minimalism and cubism, have had an influence on
deconstructivism. Analytical cubism had a sure effect on deconstructivism, as forms and
content are dissected and viewed from different perspectives simultaneously. A
synchronicity of disjoined space is evident in many of the works of Frank Gehry and
Bernard Tschumi. Synthetic cubism, with its application of found object art, is not as great
an influence on deconstructivism as Analytical cubism, but is still found in the earlier and
more vernacular works of Frank Gehry. Deconstructivism also shares with minimalism a
disconnection from cultural references.
Characteristics
▪ Unrelated forms.
▪ Abstract nature.
▪ Smooth exterior surfaces.
▪ Contrast of shapes and forms.
▪ Large expanses of a single material (glass, metals, masonry, etc.).
▪ Window frames often hidden in the walls.
▪ Simple metal frame doors.
▪ Exposed materials
The rise in prominence of computer-aided design (CAD) in contemporary architecture

was a key factor in the development of deconstructivism, as three-dimensional modeling
enabled the intricate design of complicated and unorthodox shapes and spaces.
Despite seeking to distance himself from the label, one of the most prominent architects
associated with the style is Frank Gehry, whose Santa Monica residence – the building for
which he first received critical acclaim – is regarded as the prototypical deconstructivist
building, as well as his later buildings the Guggenheim Museum and Walt Disney Concert
Hall.
Other architects who have been identified with the style are Zaha Hadid, Peter Eisenman,
Rem Koolhaas, and Daniel Libeskind.
The most notable examples of deconstructivism are:
 CCTV Headquarters, Beijing.

 Dancing House, Prague.
 Imperial War Museum, Manchester.
 Guggenheim Museum, Bilbao.
 Jewish Museum, Berlin.
 Walt Disney Concert Hall, Los Angeles.
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5) Industrial Revolution and its influence on Architecture
The Industrial Revolution, began in England about 1760 to sometime between 1820 and
1840. This transition included going from hand production methods to machines,
new chemical manufacturing and iron production processes, the increasing use of steam
power, the development of machine tools and the rise of the factory system, which led to
radical changes at every level of civilization throughout the world.
Prior to the late 19th century, the weight of a multistory building had to be supported
principally by the strength of its walls. The taller the building, the more strain this placed on
the lower sections. Since there were clear engineering limits to the weight such load-
bearing walls could sustain, large designs meant massively thick walls on the ground floors,
and definite limits on the building's height.
The biggest impact of the Industrial Revolution on 19th century architecture was the mass-
production of iron and later steel in quantities where it became an economically plausible
building material (as opposed a limited material for weapons and tools).
The nineteenth century brought an age of uncertainty, confidence apparent in the elegant
architecture of the 18th C had diminished, rejecting irregularity and polychrome, and was
subjected to a period of architectural eclecticism. The birth of this sought after style would
allow elements to be retained from previous historic precedents, returning to the style of
Michelangelo etc., whilst creating something that is new andoriginal, forming styles of Neo-
Classical and Neo-Gothic. This ability to create a fusion of styles allowed for expression
devised through creation, notreminiscence; usually elected based on its aptness to the
project and overall aesthetic value, seeking to restore order and restraint to architecture.
Because the Industrial Revolution also saw advancement in technology and

manufacturing facilities, it became easier for architects to design new styles of buildings.
New architectural designs were incorporated with ease as builders in one geography
adopted architectural designs from elsewhere, which enabled greater diversity and cross-
polination of ideas from the time of the Industrial Revolution. It was during the Industrial
Revolution that the textile industry also boomed. Because of this development,
architectural designs introduced fabrics like velvet and silk. This brought about the concept
of interiors being incorporated into the architectural designs, making them interestingly
different from all the designs known to exist before this era.
The expansion of mass industry brought the potential of new building technologies such as
cast iron, steel, and glass, with which architects and engineers devised structures previously
un-reached in both function, size, and form.
Consequently, materials could be mass produced rapidly and inexpensively, not only being
applied to things like bricks, but also iron columns, glass panels etc., meaning structures of
all types could be constructed quicker and cheaper than ever before. This generated a
new potential of standardised designs, created from identical factory components, which
could be mass produced improving the efficiency of construction time but not necessarily
the quality.
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Apart from architectural designs flourishing with respect to housing and commercial
buildings, architecture also saw a boom with respect to other forms of infrastructure such
as canals, tunnels, bridges and the likes.
The Industrial Revolution brought about a number of changes in the way architecture was
perceived post 18th century. Architectural design took a major turn. Access to better
resources, more material, better techniques; all were contributing factors to architecture
becoming a full-blown and still flourishing industry today.
In America, the development of cheap, versatile steel in the second half of the 19th
century helped change the urban landscape. The country was in the midst of rapid social
and economic growth that made for great opportunities in architectural design. A much
more urbanized society was forming and the society called out for new, larger buildings.
By the middle of the 19th century downtown areas in big cities began to transform
themselves with new roads and buildings to accommodate the growth. The mass
production of steel was the main driving force behind the ability to build skyscrapers
during the mid 1880s.
Steel framing was set into foundations of reinforced concrete, concrete poured around a
grid of steel rods (re-bar) or other matrices to increase tensile strength in foundations,
columns and vertical slabs.
However, this new architecture lacked in imagination and style as the focus was cast
towards functionality. An example of this new technology was The Crystal Palace 1851. It
was a glass and iron showpiece, with pre-fabricated parts that could be mass-produced
and erected rapidly. This dazzled the millions of visitors passing through its doors as it stood
in blatant disparity to previous massive stone construction. Crystal Palace became the
foundation for modern architecture, its transparency signified a sense of ‘no boundaries’.
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6) Cubism and its impact on Architecture

Cubism is an Avant-Garde Art movement, which was distinct in comparison as every other
art style was three-dimensional, this was two dimensional. In 1908 art critic Louis Vauxcelles,
saw some landscape paintings by Georges Braque in an exhibition in Paris, and described
them as ‘bizarreries cubiques’ which translates as ‘cubist oddities’ – and the term
“Cubism” was coined.
Cubism is an early-20th-century avant-garde art movement that revolutionized European

painting and sculpture, and inspired related movements in music, literature and
architecture. In Cubist artwork, objects are analyzed, broken up and reassembled in an
abstracted form—instead of depicting objects from a single viewpoint, the artist depicts
the subject from a multitude of viewpoints to represent the subject in a greater context.
Cubism has been considered the most influential art movement of the 20th century. The
term is broadly used in association with a wide variety of art produced in Paris or near Paris
(Puteaux) during the 1910s and throughout the 1920s.
The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean
Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand
Léger. One primary influence that led to Cubism was the representation of three-
dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings
had been held at the Salon d'Automne of 1904, current works were displayed at the 1905
and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death
in 1907.
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism.
The impact of Cubism was far-reaching and wide-ranging. In France and other countries
Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in
response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the
past and the present, the representation of different views of the subject pictured at the
same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism
was influenced by Picasso's technique of constructing sculpture from separate elements.
Other common threads between these disparate movements include the faceting or
simplification of geometric forms, and the association of mechanization and modern life.
Historians have divided the history of Cubism into phases. In one scheme, the first phase of
Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both
radical and influential as a short but highly significant art movement between 1910 and
1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when
the Surrealist movement gained popularity.
Analytic Cubism
Analytical Cubism is the second period of the Cubism art movement that ran from 1910 to
1912. It was led by the "Gallery Cubists" Pablo Picasso and Georges Braque.
This form of Cubism analyzed the use of rudimentary shapes and overlapping planes to
depict the separate forms of the subjects in a painting. It refers to real objects in terms of
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identifiable details that become—through repetitive use—signs or clues that indicate the
idea of the object.
It is considered to be a more structured and monochromatic approach than that of

Synthetic Cubism. This is the period that quickly followed and replaced it and was also
developed by the artistic duo.
Synthetic Cubism
Synthetic Cubism is a period in the Cubism art movement that lasted from 1912 until 1914.
Led by two famous Cubist painters, it became a popular style of artwork that includes
characteristics like simple shapes, bright colors, and little to no depth. It was also the birth
of collage art in which real objects were incorporated into the paintings.
Synthetic Cubism grew out of Analytic Cubism. It was developed by Pablo Picasso and
Georges Braque and then copied by the Salon Cubists. Many art historians
consider Picasso's "Guitar" series to be the ideal example of the transition between the
two periods of Cubism.
Picasso and Braque discovered that through the repetition of "analytic" signs their work
became more generalized, geometrically simplified, and flatter. This took what they were
doing in the Analytic Cubism period to a new level because it discarded the idea of three
dimensions in their work.
At first glance, the most noticeable change from Analytic Cubism is the color palette. In
the previous period, the colors were very muted, and many earth tones dominated the
paintings. In Synthetic Cubism, bold colors ruled. Lively reds, greens, blues, and yellows
gave great emphasis to this newer work.
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Impact of Cubism on Architecture:
From 1912, Cubism had become an influential factor in terms of architecture and the
architects of the movement borrowed heavily from cubist art regarding geometric forms
and shapes, diverse elements could be superimposed, made transparent, or penetrate
one another. The common characteristics of the buildings of this movement were
transparency, spatial ambiguity, form-faceting, and multiplicity. It also brought out
conceptions like abstraction, geometrization, symbolism, distortion, fragmentation, and
illusion.
Architectural interest in Cubism centered on the dissolution and reconstitution of three-

dimensional form, using simple geometric shapes, juxtaposed without the illusions of
classical perspective. Diverse elements could be superimposed, made transparent or
penetrate one another, while retaining their spatial relationships. Cubism had become an
influential factor in the development of modern architecture from 1912 onwards,
developing in parallel with architects such as Peter Behrens and Walter Gropius, with the
simplification of building design, the use of materials appropriate to industrial production,
and the increased use of glass.
The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde

architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-
plasticism developed by Piet Mondrian under the influence of Cubism in Paris
De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert
Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of
industrial application—which had been prefigured by Marcel Duchamp from 1914—was
left to the founders of Purism
The buildings were distinct with their sharp, clear lines for perspective viewing while the
windows have cubic or rectangular and did not necessarily line up with each other and
thus creating a revolutionary appearance. It was no historical comparison so it became
revolutionary and faced opposition from others who wanted a steady and structured
change.
Early cubist buildings were made up of bricks which were difficult to cut into geometric
shapes making their construction costly and demanding, later concrete became their
material of choice as it could be poured into any flexible geometric form. The use of
reinforced concrete structure gave cubism an edge in the building industry.
The initial challenges faced also involved the interiors as with Cubism, the shape of the
structure was so dynamic it could perform an ornamental function and there was a
challenge of finding furniture that could blend in with the unique interior of the buildings.
This was later addressed with the advent of cubist furniture.
The pioneering architect of this movement was Le Corbusier and one can find traits and
characterizes of the movement in his designs such as the Assembly building, Chandigarh
and Notre Dame du Haut, Ronchamp which had distinctive details from Pablo Picassos’
1930s masterpiece ‘Guernica’. Some of the other interesting buildings of the movement
include the cube houses in Rotterdam and Helmond by Piet Blom and Holman House,
Sydney By Durbach Block Jaggers.
Mayank Dubey | 123521050021 16

Cubism also served as the fundamental for the birth of the deconstructivism movement,
the similar can be seen in most of the structures such as The Crystal at Royal Ontario
Museum, Toronto by Daniel Libeskind, and Walt Disney Concert hall by Frank Gehry.
END OF SECTION A
Mayank Dubey | 123521050021 17

B. Architects and their Architecture
1. Alvar Aalto
Alvar Aalto, in full Hugo Alvar Henrik Aalto, (born Feb. 3, 1898, Kuortane, Fin., Russian
Empire—died May 11, 1976, Helsinki, Fin.), Finnish architect, city planner, and furniture
designer whose international reputation rests on a distinctive blend of modernist
refinement, indigenous materials, and personal expression in form and detail. His mature
style is epitomized by the Säynätsalo, Fin., town hall group (1950–52).
The years 1927 and 1928 were significant in Aalto’s career. He received commissions for
three important buildings that established him as the most advanced architect in Finland
and brought him worldwide recognition as well.
These were the Turun Sanomat Building (newspaper office) in Turku, The tuberculosis
Sanatorium at Paimio, and The Municipal Library at Viipuri (now Vyborg, Russia). His plans
for the last two were chosen in a competition, a common practice with public buildings in
Finland. Both the office building and the sanatorium emphasize functional, straightforward
design and are without historical stylistic references.
They go beyond the simplified classicism common in Finnish architecture of the 1920s,
resembling somewhat the building designed by Walter Gropius for the Bauhaus school of
design in Dessau, Ger. (1925–26). Like Gropius, Aalto used smooth white surfaces, ribbon
windows, flat roofs, and terraces and balconies.
The third commission, The Viipuri Municipal Library, although exhibiting a similar
dependence on European prototypes by Gropius and others, is a significant departure
marking Aalto’s personal style. Its spatially complex interior is arranged on various levels. For
the auditorium portion of the library Aalto devised an undulating acoustic ceiling of
wooden strips, a fascinating detail that, together with his use of curved laminated wood
furniture of his own design, appealed both to the public and to those professionals who
had held reservations about the clinical severity of modern architecture.
The warm textures of wood provided a welcome contrast to the general whiteness of the
building. It was Aalto’s particular success here that identified him with the so-called organic
approach, or regional interpretation, of modern design. He continued in this vein, with
manipulation of floor levels and use of natural materials, skylights, and irregular forms.
Aalto was one of the first to depart from the stiffly geometric designs common to the early
period of the modern movement and to stress informality and personal expression. His style
is regarded as both romantic and regional.
He used complex forms and varied materials, acknowledged the character of the site, and
gave attention to every detail of building. Aalto achieved an international reputation
through his more than 200 buildings and projects, ranging from factories to churches, a
number of them built outside Finland.
Mayank Dubey | 123521050021 18

Aalto’s preliminary plans were freely sketched, without the use of T-square and triangle, so
that the unfettered creative urge for inventive shapes and irregular forms was allowed full
play before functional relationships and details were resolved.
Works
1. 1927–1935: Municipal library, Viipuri, Finland (now Vyborg, Russia)
2. 1928–1929, 1930: Turun Sanomat newspaper offices, Turku, Finland
3. 1928–1933: Paimio Sanatorium, Tuberculosis sanatorium and staff housing, Paimio,
Finland
4. 1931: Toppila paper mill in Oulu, Finland
5. 1931: Central University Hospital, Zagreb, Croatia (former Yugoslavia)
01 Municipal library, Viipuri, Finland

 When Aalto won the competition to
design Viipuri’s city library in 1927, it
was among the first in a series of
seminal modernist projects he
undertook throughout his native
country of Finland.
 The library's massing consists of two
simple rectangular blocks that are
offset horizontally from one another,
but the internal spatial organization is
deceptively more complex. What is
often described as three floors in plan
is actually six or seven in section,
resulting in a variegated array of
volumetric conditions and a complex
field of transitional spaces.
 The programmatic arrangement bears
some resemblance to the simpler
massing, with administrative and
ceremonial spaces in the main
entrance block and the bulk of the
reading spaces and bookshelves in
the larger rear block.
 The circulation of this complex interior
arrangement captures the essence of
Aalto’s design. Analogizing to a
rugged mountain topography defined
primarily by changes in elevation, he
strove to create a stepped
“interweaving of the section and
ground plan” and “a kind of unity of
horizontal and vertical construction.”
Mayank Dubey | 123521050021 19

 Unlike the flat hallways often typified by functionalist projects, movement corridors
through the building deviate upward as they progress inward, culminating at a central
administrative desk at the path's symbolic summit.
 In a modified display of modernist axioms, Aalto capitalizes on the resulting

transitional areas by giving them programmatic value, expanding landings into
reading platforms and bridging inter-floor gaps with bookshelves. The result is a
seamless, continuous journey that meanders through the entirety of the building with
stream-like fluidity.
 Despite its experientialist inspirations, the composition of the building is determined
by a rigorously logical process. Dialogue between different elements of the building
is geometrically driven by scalar grids, proportional relationships, and rotations.
 The administrative desk—the programmatic heart of the building—is also its
geometric center, generating a radial pulse that aligns bookshelves and stairwells
with a single point, a powerful circular motif in an otherwise orthogonal system.
 Grid overlaps result in the creation of interstitial spaces, such as the corridor behind
the lecture hall, in a language so process-driven as to be strangely prescient of
deconstructive methodologies that would not appear for another forty years.
 While the Viipuri Library irrefutably belongs to the budding modernist tradition, it
consistently displays a calculated tendency to depart from pure functionalism. Rich
details that are neither rational nor purely ornamental, such as his diagonal entrance
door bracings or the sensuous banisters of the stairwells, add an expressive and
distinctly personal flare to modern forms. The formal organization of the building and
its "tendency to highlight particular design elements" is likewise aberrant in its
composition and complexity.
 Ever sensitive to the environment and traditions of his country, Aalto enriched the
formal purities of Viipuri’s modern design with a material palette more typical of
Finnish architecture. The white stucco, concrete, and glass of the façade finds
delightful contrast with the warm wood finishes of the interiors, including a
spectacular rolling wooden ceiling in the lecture hall. Aalto’s concern over natural
lighting, a timeless hallmark of Scandinavian design, alludes to distinctly local
construction methods.
Mayank Dubey | 123521050021 20

2. Tadao Ando
Andō Tadao, (born September 13, 1941, Osaka, Japan), one of Japan’s leading
contemporary architects. He is best known for his minimalist concrete buildings.\
Ando was raised in Japan where the religion and style of life strongly influenced his
architecture and design. Ando's architectural style is said to create a "haiku" effect,
emphasizing nothingness and empty space to represent the beauty of simplicity. He favours
designing complex spatial circulation while maintaining the appearance of simplicity.
The simplicity of his architecture emphasizes the concept of sensation and physical
experiences, mainly influenced by Japanese culture. The religious term Zen, focuses on the
concept of simplicity and concentrates on inner feeling rather than outward appearance.
Zen influences vividly show in Ando's work and became its distinguishing mark.
In order to practice the idea of simplicity, Ando's architecture is mostly constructed with
concrete, providing a sense of cleanliness and weightlessness (even though concrete is a
heavy material) at the same time.
Besides speaking of the spirit of architecture, Ando also emphasises the association
between nature and architecture. He intends for people to easily experience the spirit and
beauty of nature through architecture.
He believes architecture is responsible for performing the attitude of the site and makes it
visible. This not only represents his theory of the role of architecture in society but also shows
why he spends so much time studying architecture from physical experience.
Andō had various careers, including professional boxer, before he became a self-taught
architect and opened his own practice in Osaka in 1969. In the 1970s and ’80s, he executed
a series of mostly small-scale, often residential buildings in Japan such as the Azuma House
(1975–76) in Osaka and the Koshino House (1979–81) in Ashiya.
In these early commissions, he used beautifully detailed reinforced concrete walls, a form
that gave his buildings a massive, minimalist appearance and simple, contemplative
interior spaces.
These works established the aesthetic Andō would continue throughout his career:
essentially Modernist, coming out of the tradition of Le Corbusier’s experiments with
concrete, his work is also rooted in the spirituality of Japanese architectural space.
Andō’s structures were often in harmony with their natural environments, taking advantage
of natural light in a dramatically expressive way. In his Church of Light (1989–90) in the Ōsaka
suburb of Ibaraki, for example, a cruciform shape is cut out of the concrete wall behind the
altar; when daylight hits the outside of this wall, a cross of light is generated within the
interior.
Andō’s consistent aesthetic has won him numerous international awards, including the
Carlsberg Architectural Prize (1992), the Pritzker Prize (1995), and gold medals from both the
Mayank Dubey | 123521050021 21

Royal Institute of British Architects (1997) and the American Institute of Architects (2002). In
1996 he also received the Praemium Imperiale prize for architecture, one of the six
categories of global arts prizes awarded annually by the Japan Arts Association.
Works
01. Hyogo Prefectural Museum of Art (2002)

02. Church of Light (1989)
03. The Oval at Benesse Art Museum Naoshima (1995)
04. 4x4 house (2003)
05. Osaka Culturarium at Tempozan (1994)
01 Church of light
 Tadao Ando‘s principal focus on simplicity and minimalist aesthetics in the Church of the
Light is silencing. The church is located in a typical Japanese suburb, a cram of tradition
and modernism on the outskirts of Osaka.
 Its load bearing walls are very simple and traditional, contrary to the modern architecture
that has encroached the city of Osaka.
 Tadao Ando takes an ancient approach with this, especially when compared to Le
Corbusier‘s insistence that a wall would no longer be a structural element but a mere
membrane on the outer shell.
 The Chapel consists of a rectangular volume of three cubes that are punctured by a wall
at a fifteen degree angle that never actually touches the other walls or ceiling of the
chapel.
 The geometry is nothing more than six walls and a roof, a minimalist end point that
requires a thoughtful process that is able to eliminate anything else that is not relevant.
This church of the light is a simple building that makes the most of what it can, a testament
to the phrase “less is more”.
 Right from the exterior one is able to appreciate the honesty and authenticity of material.
The purity that is found in the details is astounding. The reinforced concrete is void of any
and all ornament that is not part of the construction process.
 The seams and joints of the concrete are built with precision and care by master
Japanese carpenters, along with Ando, that have worked to create an immaculately
smooth surface and accurately aligned joints. So much so, that the seams of the
concrete form work align perfectly with the crosses extrusion on the east side of the
church.
Mayank Dubey | 123521050021 22

 It possesses such a modest character that speaks of peace and tranquillity. Its facade
is a whisper, with only straight defined lines and one overall texture of by the
concrete.
 Its introverted design serves as a physical connection between the congregation
and the religion because the outside world is forgotten and the spiritual is seen inside
this place. One of the slits that interrupts the facade is a cruciform that is cut into the
concrete behind the altar.
 Tadao Ando has reduced religious paraphernalia to that simple cruciform extrusion,
which is often criticized as disturbingly empty, void, and undefined. This is no surprise
as minimalist design is often misread as little exertion put into the product. However,
there is a whole level of design aesthetic implemented by Ando and his contractors
that is priceless to a keen eye.
 Circulation into the space is controlled by the angled wall at 15 degrees to be
precise. Upon entering the chapel, the wall is immediately encountered and forces
a left turn into an interstitial space.
Mayank Dubey | 123521050021 23

 It appears as a symbolic sieve, the narrow path, for the people who enter the church
of the light. A tall threshold is cut into the wall allowing a right turn into the main
chapel space.
 The purpose of the manipulation of the circulation sequence is realized as one passes
through the wall. At this particular point one pivots around as they become totally
aligned with the crucifix of light at the opposite end of the chapel. By keeping the
amount of openings to a minimum, the power of the light emanating from the crucifix
is intensified.
3. David Chipperfield
December 18, 1953, London, England), British architect who was known for his modern
minimal designs.
Chipperfield graduated (1977) from the Architectural Association in London and worked
with such award-winning architects as Richard Rogers and Norman Foster before
establishing (1985) David Chipperfield Architects.
Many of his early commissions were in Japan, where his desire to blend modern design with
site-specific demands were a perfect match for traditional Japanese aesthetics. He also
worked often in Germany and maintained offices in Berlin as well as in London, Milan, and
Shanghai.
Chipperfield’s work earned numerous accolades over the years. Most notably, in a 15-year
span (1998–2013), seven buildings designed by his firm were nominated for the Royal
Institute of British Architects (RIBA) Stirling Prize, with the Marbach (Germany) Museum of
Modern Literature awarded the prize in 2007.
Mayank Dubey | 123521050021 24

Other short-listed projects were an office and studio building in Düsseldorf, Germany (1998);
the River and Rowing Museum in Henley-on-Thames, Oxfordshire (1999); Ernsting Service
Centre in Coesfeld-Lette, Germany (2002); the America’s Cup Building in Valencia, Spain
(2007); the reconstructed Neues Museum in Berlin (2010), which was the culmination of a
mammoth 12-year project; and the Hepworth Wakefield Art Gallery in West Yorkshire (2012).
\Other notable works include the East Building (2013) of the Saint Louis (Missouri) Art
Museum, a light-filled structure featuring skylights, floor-to-ceiling windows on the front, and
a concrete facade that was composed of locally sourced river aggregates.
Chipperfield also built a number of private homes, apartment buildings (One Kensington
Gardens [2015], London), and mixed-income housing (Hoxton Press [2018], London). His
designs for retail spaces included the Valentino flagship stores in New York (2014) and
London (2016) and a new entrance to Selfridge’s department store (2018), London.
Chipperfield’s long-awaited restoration of Berlin’s Neue National galerie—designed by
Ludwig Mies van der Rohe in 1968—was completed in 2021.
In addition to buildings, Chipperfield also designed furniture, lighting, tableware, and other
objects. In 2020 he was the guest editor for Domus, the Italian architecture magazine. He
was granted the RIBA Gold Medal for lifetime achievement in 2011, the same year that he
was awarded the EU Prize for Contemporary Architecture–Mies van der Rohe Award.
His other awards include the Heinrich Tessenow Medal (1999), election to the Royal
Academy (2008), Germany’s Order of Merit (2009), and the Japan Art Association’s
Praemium Imperiale (2013). David Chipperfield Architects was one of four U.K.-based firms
chosen to contribute to the British pavilion, “City Visionaries,” at the 2000 Venice Biennale.
A dozen years later Chipperfield served as the Biennale’s first British curator for the 13th
International Architecture Exhibition (2012), which h titled “Common Ground.”
After having been made Commander of the Order of the British Empire (CBE) in 2004,
Chipperfield was knighted in the 2010 New Year Honours. Eleven years later he was added
to the exclusive Ordeer of the Companions of Honour.
Works
01. River and Rowing Museum, Henley-on-Thames, UK (1989–1997)

02. Des Moines Public Library, Des Moines, Iowa (2002–2006)
03. Museum of Modern Literature, Marbach, Germany (2002–2006)
04. America's Cup Building (Veles e Vents), Valencia, Spain (2005–06)
05. The Neues Museum, Berlin, Germany (1997–2009
Mayank Dubey | 123521050021 25

01 11-19 Jane Street Apartments (2021)
 On the north-western edge of the Greenwich Village Historic District, Jane Street is
characterised by a mix of red brick townhouses and larger apartment blocks, mainly
dating from the nineteenth and twentieth centuries respectively.
 This new apartment building is located on a site previously occupied by a 1920s, two-
storey parking garage. The six-storey building comprises basement parking, duplex
townhouses, lateral apartments, and a penthouse with its own roof garden.
 Mediating between the different sizes of the surrounding structures, the inserted volume
both respects the scale of the street and reflects its architectural context.
 The five storeys that can be seen from street level offer a contemporary interpretation of
the surrounding brick townhouses, with a distinct articulation of base, middle and crown.
 The scale of the entrances as well as the rhythm of the windows, combined with the use
of mullions and string courses, reference the rich domestic architecture of the West
Village.
Mayank Dubey | 123521050021 26

 Local context is also referenced through the colours and materials of the facades. The
building has a symmetrical composition, with the townhouse entrances recessed at either
end of the ground floor.
 In the centre is the larger double entrance for the apartments and the garage. The windows
differ in design for each element of the residential scheme. The two-storey townhouses, for
example, have balconied French windows, while the lateral apartments on the two storeys
above have broader openings divided by concrete mullions.
 The penthouse at the top, with its higher ceilings, is set back from the street. It can be read
as a simple post and beam structure, framing large windows that overlook a private garden.
 Red pigmented concrete is used for the ground floor giving it a strong sculptural presence.
The upper storeys are clad in Roman brick, with string courses, lintels and mullions in the
same red concrete, providing subtle colour variations throughout.
 The street front is crowned by a projecting cornice, which echoes the projecting string
course between ground and first floors and gives extra shadow and articulation to the
facade.
 The structure of the penthouse also uses red concrete. Restrained but solid materials are
used throughout, with bronze railings and window and door frames outside and terrazzo
floors in the communal areas.
 The townhouses and apartments feature Carrara marble and natural oak floors. The roof
terrace and a rear garden are designed by Belgian landscape architect Peter Wirtz
ensuring that all apartments have a connection to nature.
Mayank Dubey | 123521050021 27

4. Steven Holl
Steven Holl, (born December 9, 1947, Bremerton, Washington, U.S.), American architect
and artist whose built work draws on contemporary theories of phenomenology. Instead of
imposing a style on a site, he argued, the site itself should generate the “architectural idea”
applied to it. After attending the University of Washington (B.A., 1971), Holl continued his
architectural studies in Rome and London. On returning to the United States, he established
a practice in New York City, where he also served on the faculty of Columbia University
from 1981.
He became a member of the American Academy of Arts and Letters in 2000. Holl’s work
includes large buildings in many cities around the world, among them the Museum of
Contemporary Art Kiasma in Helsinki, the Nanjing Sifang Art Museum in Nanjing, China, an
addition to and renovation of the Amerika-Gedenkbibliothek (American Memorial Library)
in Berlin, and an annex to the John F. Kennedy Center for the Performing Arts in Washington,
D.C.
His later work concentrated on urban-scale mixed residential and commercial projects in
China, notably the Linked Hybrid, a building complex containing apartments, hotels,
schools, and restaurants in Beijing, and the Vanke Centre, a “horizontal skyscraper” in
Shenzhen.
Among his many honours are the Alvar Aalto Medal (1998), the Cooper Hewitt National
Design Award for architecture (2002), the American Institute of Architects Gold Medal
(2012), and the Japan Art Association’s Praemium Imperiale prize for architecture (2014).
In designing the Chapel of St. Ignatius (built 1994-1997), Jesuit chapel at Seattle University,
Holl addressed the campus's need for green space by siting the chapel in the centre of a
former street and elongating the building plan. New green campus quadrangles were
formed to the north, west, and south, and a future quadrangle is planned to the east.
The plan of the chapel won a design award in the American Institute of Architects of New
York. Holl designed the Chapel around St. Ignatius's vision of the inner spiritual life, "seven
bottles of light in a stone box", by creating seven volumes of different light.
Each volume represents a different part of Jesuit Catholic worship, and has differently
colored glass so that various parts of the building are marked out by colored light. Light
sources are tinted both in this way and by indirect reflection from painted surfaces, and
each is paired with its complementary colour.
Works
01. Hybrid Building
02. Void Space Housing, Nexus World
03. Storefront for Art and Architecture
04. Chapel of St. Ignatius at Seattle University
05. Kiasma, Museum of Contemporary Art
Mayank Dubey | 123521050021 28

01 Kiasma, the Museum of Contemporary Art in Helsinki.

 Demand for a contemporary
The very concept art museum
of an art gallery implies in
anHelsinki
inwardarose focus.asWhile
early theas the
need1960s, although
to showcase
debates on just
the cultural how to create
treasures contained one within
delayed is decisive
self-evident, actiontheforneed
three to decades.
connect It wasn’t
these
until 1990 that
sheltered the Museum
exhibition spaces of to Contemporary
the outside world Artis opened
less so, andto the public,
in some andiseven
cases then it
overlooked
was in a temporary setting.
entirely.
 A design
Even competition
monumental for athat
design new, permanent
turns the museum museum launched
itself into in the element
a sculptural autumn may of 1992;
fail
the following year, Steven Holl’s entry, entitled
to make a reference to its particular surroundings. “Chiasma,” was selected from over 515
 other proposals.
This sense of 'placelessness' is what Steven Holl sought to avoid in his design for an art
 Webster’s
museum at the heartdefines
Dictionary chiasma
of Helsinki, Kiasmaas “an anatomical
– a museum intersection.”
whose Kiasma is, as its
carefully choreographed
name
outward implies,
views,aformally
design irregular
of intersections. Its site inand
gallery spaces,, the indeed
centre its of very
Helsinki
name is aspeak
focalto point
the
between several
ideal of connection. notable structures: the Finnish Parliament building is directly adjacent to
the museum’s west, Alvar Aalto’s Finland Hall lies to the south, and Eliel Saarinen’s Helsinki
Station can be found to the east. The northern face of the museum. Meanwhile, is
bounded by Töölö Bay.
 These features served as driving forces to determine the form of the building: a curved
“cultural line” links Kiasma to Finlandia Hall, while a straight “natural line” connects it to
the landscape and the bay.
 The result of this site synthesis is a structure comprising three main elements: two building
components and water. The eastern building volume is a twisted, curving mass who’s
southern and eastern faces are truncated where they meet the urban fabric. Its western
counterpart, meanwhile, is a more typical orthogonal extrusion.
 The two forms meet at the northern end of the site, where they intersect with the waters
of a reflecting pool that calls out Holl’s proposed southward extension of Töölö Bay.
Mayank Dubey | 123521050021 29

 Visitors enter the museum through a spacious lobby with a glazed ceiling. This lobby serves
as the starting point for stairways, ramp, and corridors that curve off to lead into the rest of
the building.
 The gallery spaces are characterized by the architect as “almost rectangular,” each
containing one curved wall. This irregularity differentiates each successive space, creating
a complex visual and spatial experience as visitors pass through the museum galleries.
 The initial impression is that of the typical closed-in, placeless museum interior; however, it is
only by moving through each space that one discovers various unexpected views to the
outside.
 This choreographed outward focus, combined with the irregular forms of the interior, creates
what Holl called “a variety of spatial experiences. “This variety was, in Holl’s reckoning,
essential to the function of Kiasma.
 Contemporary artists produce an endless stream of unique works, and so a museum that
showcases them must be able to anticipate and provide for anything ranging from the
subtle and restrained to the grandiose and unpredictable. The irregular, subtly differentiated
spaces of the museum serve as exhibition halls that Holl describes as a “silent, yet dramatic
backdrop” for the display of equally variegated art.
 Holl worked with more than pure massing and windows to give each space its own unique
character. Natural light was an important consideration – Holl was fascinated by the
constantly changing character of Finland’s daylight.
 Many of the windows in Kiasma are composed of translucent glazing, which diffuses the
Scandinavian sunlight as it enters the interior. The staccato rhythm of city views is achieved
by the occasional inclusion of fully transparent glass – both as a narrow crescent that allows
a view to Helsinki Station and as full curtain-wall facades at the north and south ends of the
building’s volumes.
Mayank Dubey | 123521050021 30

5. Zaha Hadid
Zaha Hadid, in full Dame Zaha Hadid, (born October 31, 1950, Baghdad, Iraq—died March
31, 2016, Miami, Florida, U.S.), Iraqi-born British architect known for her radical
deconstructivist designs. In 2004 she became the first woman to be awarded the Pritzker
Architecture Prize.
Hadid began her studies at the American University in Beirut, Lebanon, receiving a
bachelor’s degree in mathematics. In 1972 she traveled to London to study at the
Architectural Association, a major centre of progressive architectural thought during the
1970s.
There she met the architects Elia Zenghelis and Rem Koolhaas, with whom she would
collaborate as a partner at the Office of Metropolitan Architecture. Hadid established her
own London-based firm, Zaha Hadid Architects (ZHA), in 1979.
In 1983 Hadid gained international recognition with her competition-winning entry for The
Peak, a leisure and recreational centre in Hong Kong. This design, a “horizontal skyscraper”
that moved at a dynamic diagonal down the hillside site, established her aesthetic: inspired
by Kazimir Malevich and the Suprematists, her aggressive geometric designs are
characterized by a sense of fragmentation, instability, and movement.
This fragmented style led her to be grouped with architects known as “deconstructivists,” a
classification made popular by the 1988 landmark exhibition “Deconstructivist
Architecture” held at the Museum of Modern Art in New York City.
Hadid’s first major built project was the Vitra Fire Station (1989–93) in Weil am Rhein,
Germany. Composed of a series of sharply angled planes, the structure resembles a bird in
flight. Her other built works from this period included a housing project for IBA Housing (1989–
93) in Berlin, the Mind Zone exhibition space (1999) at the Millennium Dome in Greenwich,
London, and the Land Formation One exhibition space (1997–99) in Weil am Rhein. In all
these projects, Hadid further explored her interest in creating interconnecting spaces and
a dynamic sculptural form of architecture.
Hadid solidified her reputation as an architect of built works in 2000, when work began on
her design for a new Lois & Richard Rosenthal Center for Contemporary Art in Cincinnati,
Ohio. The 85,000-square-foot (7,900-square-metre) centre, which opened in 2003, was the
first American museum designed by a woman.
Essentially a vertical series of cubes and voids, the museum is located in the middle of
Cincinnati’s downtown area. The side that faces the street has a translucent glass facade
that invites passers-by to look in on the workings of the museum and thereby contradicts
the notion of the museum as an uninviting or remote space.
The building’s plan gently curves upward after the visitor enters the building; Hadid said she
hoped this would create an “urban carpet” that welcomes people into the museum. Hadid
taught architecture at many places, including the Architectural Association, Harvard
University, the University of Chicago, and Yale University. She also designed furniture,
Mayank Dubey | 123521050021 31

jewelry, footwear, bags, interior spaces such as restaurants, and stage sets, notably for the
2014 Los Angeles Philharmonic production of Wolfgang Amadeus Mozart’s Così fan tutte.
Works
01. Vitra Fire Station (1991–1993
02. Bergisel Ski Jump (1999–2002)
03. Contemporary Arts Center, Cincinnati (1997–2000)
04. Phaeno Science Center (2000–2005)
05. Ordrupgaard Museum extension (2001–2005)
01 Richard Rosenthal Center for Contemporary Art, Cincinnati

 The belief that a building can both blend in and stand out at the same time is embodied
by the Lois and Richard Rosenthal Center for Contemporary Art (CAC), located in
Cincinnati.
 Though it's heavy volumetric massing makes it appear as an independent and
impenetrable sculptural element, the Rosenthal Center is in fact designed to pull the city
in – past its walls and up, toward the sky. This inherent dynamism is well-suited to a gallery
which does not hold a permanent collection, and is situated at the heart of a thriving
Midwestern city.
 The centre, founded in 1939, was one of the first institutions of contemporary visual art in
the United States. Since the 1960s, the CAC’s galleries were housed in the second floor of
a commercial development in downtown Cincinnati.
 This was exceptional in a time when most contemporary art facilities were situated on the
outskirts of the American city; unfortunately, despite its central location, the CAC was
virtually invisible from the street.
Mayank Dubey | 123521050021 32

 From an initial 97 submissions, the CAC narrowed their choices to 12 semi-finalists, and
eventually to three finalists: Daniel Libeskind, Bernard Tschumi, and Zaha Hadid. Each finalist
was asked to produce a concept booklet showing not a physical design, but the
conceptual approach that they would take.
 Hadid proposed organizing the museum into a number of independent gallery volumes,
all suspended from a warped concrete plane. These functional elements would inform not
only the massing of the new museum, but its exterior appearance as well. The proposal
was intriguing enough that on March 4, 1998, the CAC formally declared Zaha Hadid
victorious.
 The site chosen by the CAC was a busy street corner at the heart of downtown Cincinnati.
It lay along a pedestrian route running from the nearby Fountain Square to the Aronoff
Center for the Arts across the street, ensuring a constant flow of people. It was this
pedestrian dynamism that encouraged Hadid to develop the “Urban Carpet,” one of the
Rosenthal Centre’s two defining design gestures.
 The “Urban Carpet” is Hadid’s method of bringing the fabric of the city within the museum’s
walls. The ground level lobby is fully glazed and open to public egress, inviting pedestrians
to treat the space as an enclosed public square; this serves to situate the Rosenthal Center
in the existing network of public spaces and paths, allowing it to operate as a vital urban
node and effectively solving the issue of visibility faced by the former gallery facility.
 The concrete floor of the lobby is connected to the rear wall of the museum by an upward
curve, transforming the two into a continuous surface that conceptually draws the urban
fabric up from the lobby and into the gallery spaces suspended above.
 Hadid chose not to hide her design strategies within a simplified shell, but to display them
openly. The result is two distinct façades, each of which reveals a different aspect of the
center’s interior.
 The south façade, comprising the longer faces of the gallery volumes, expresses the
building program through three material choices: glazing, concrete, and black metal
panel. The east façade relies not on material, but on massing, with its topography of
concrete faces revealing the complex arrangement of gallery volumes within the center.
Mayank Dubey | 123521050021 33

6. Toyo Ito
Toyo Ito, Japanese Itō Toyo-o, (born June 1, 1941, Seoul, Korea [now in South Korea]),
Japanese architect known for his innovative designs and for taking a fresh approach to
each of his projects. Ito held that architecture should consider the senses as well as physical
needs, and his philosophy doubtless contributed to the considerable critical and popular
response his works received.
In 2013 he was awarded a Pritzker Architecture Prize. In its citation, the Pritzker jury stated
that “his architecture projects an air of optimism, lightness, and joy and is infused with both
a sense of uniqueness and universality.”
Ito was born in Japanese-occupied Korea to Japanese parents. He went to Japan with his
mother and sisters in 1943, and his father moved back there a few years later. Ito studied
architecture at the University of Tokyo.
After graduating (1965), he apprenticed with Kikutake Kiyonori, one of the leaders of the
Metabolist school, a Japanese architectural movement of the 1960s that advocated a
radically futuristic approach to design. As the Metabolist movement wound down, Ito left
Kikutake’s firm, and in 1971 he established his own practice, Urban Robot (URBOT), in Tokyo,
initially focusing on residential and other small-scale projects.
One of his most notable early designs was the White U house (1976) in Tokyo. Intended as
a place of solace and retreat for Ito’s recently widowed sister, the house—built in the shape
of a U around a central courtyard—featured no outward-facing windows. A few small
openings in the ceiling offered the only glimpses of the outside world and created dramatic
light effects within the house’s pure white interior.
As Ito moved on to larger works, his designs became more experimental. In Yokohama he
transformed an old concrete water tower into the visually stunning Tower of the Winds
(1986) by covering the structure with a perforated aluminium plate and hundreds of lights
that were configured to respond to wind speed and sound waves. By day the plate
reflected the sky, but at night the tower “came alive” as the lights produced constantly
changing colours and patterns.
By most accounts, Ito’s masterpiece was the Sendai (Japan) Mediatheque (completed
2001), a multipurpose cultural centre whose design was inspired by floating seaweed. From
the outside the approximately 22,000-square-metre (237,000-square-foot) transparent
structure resembled a gigantic aquarium; the building’s seven floors were supported by
slanting columns that looked like strands of seaweed swaying underwater. No walls divided
the building’s interior, yet the space was highly versatile, housing a great variety of art and
media collections for public use.
Ito’s other projects included the spotted concrete facade of the Mikimoto Ginza 2 flagship
store (2005), Tokyo; Tama Art University Library (2007), Tokyo; Toyo Ito Museum of
Architecture (2011), Imabari, Japan; and Museo Internacional del Barroco (2016), Puebla,
Mexico. He received numerous awards for his work, including a Golden Lion for lifetime
Mayank Dubey | 123521050021 34

achievement at the 2002 Venice Biennale, the 2006 Royal Gold Medal of the Royal Institute
of British Architects, the 2008 Friedrich Kiesler Prize for Architecture and the Arts.
Works
01. 1976 – White U House (house for his sister)
02. 1984 – Silver Hut (Ito's own house, adjacent to White U)
03. 1986 – Tower of Winds, West Exit, Yokohama Station, Nishi-ku, Yokohama
04. 1991 – Yatsushiro Municipal Museum
05. 1994 – Old People's Home in Yatsushiro
01 International Museum of the Baroque, Puebla, Mexico

 The plot of five hectares is located
approximately seven kilometres from
the city centre of Puebla, at the
intersection of the “Boulevard de
Atlixcayotl” and the “Avenida de las
Torres”.
 Currently access to the site is either by
car, by a public transport bus system or
by a bike path circuit connecting the
Museum with other parks and public
spaces in the city.
 Parking is organized on 2 levels on the
eastern side of the Museum and has
about 440 boxes, parking for 4 buses,
42 motorcycles and 50 bicycles.
 To frame the main facade of the
museum a large square has been
designed which receives the incoming
visitors.
 It includes a passenger drop-off point for buses and cars, benches, information banners,
a large stepping bench for giving explanations to visiting groups, and an entrance
canopy which welcomes and protects the visitors waiting to enter the museum.
 This facade will also receive night time projections of images related to current exhibitions,
which also illuminate the museum and make it stand out from a distance.
 The building, 19.52 m maximum height, is elevated 2 m from original ground. Thus it is easily
recognizable from the two main roads, acting as a beacon. The MIB has two levels above
ground. The total floor area is approximately 18,149 m2, of which 9,855 m² correspond to
the lower floor (ground floor), 7,316 m² to the upper floor and 978 m2 to the mezzanine
level.
 The exposed concrete has a bush-hammered texture, making it easy to rectify any
defects to the finishes on site. The walls function as structural load-bearing walls with a
total thickness of 36 cm. (Including the 2 precast concrete elements).
Mayank Dubey | 123521050021 35

 The slab is a 70 cm deep lightweight composite with recycled hollow polyethylene (PET)
spheres and semi-prefabricated precast slabs for easy and fast assembly. As part of the
structural strategy, the museum is a single rigid volume, giving the building earthquake
resistant qualities.
 The foundation transmits vertical loads on the ground filler compacted soils. The
foundation was built as a strip footing with an adjusted depth according to the
requirements of outdoor spaces.
TheExhibition
exposed concretespaces has aarebush-hammered
mainly located texture,on making
the itlower
easy tofloor.
rectifyUpon
any defects to the the
entering finishes on site. The
building one
walls function as structural load-bearing walls with a total thickness of 36
will reach the main hall, from which you can immediately access the museum exhibition cm. (Including the 2 precast concrete
elements).
areas,The theslab is a 70 cm deep
auditorium lightweight
as well as the composite with recycled hollow polyethylene (PET) spheres and
upper level.
semi-prefabricated precast slabs for easy and fast assembly.As part of the structural strategy, the museum is a single
 The ticket office, cloakroom, museum shop and information centre are also located in
rigid volume, giving the building earthquake resistant qualities. The foundation transmits vertical loads on the
the main hall. In this area one can also enjoy several large benches designed by Kazuko
ground filler compacted soils. The foundation was built as a strip footing with an adjusted depth according to the
Fujie Atelier
requirements which
of outdoor spaces. were developed in collaboration with local textile artisans in
Hueyapan, Puebla.
Exhibition
This spacespacescommunicates
are mainly locatedwith the
on the exhibition
lower floor. Uponhall,entering
from which you one
the building canwillaccess both
reach the the
main
hall,permanent
from which you andcan temporary
immediatelyexhibitions. The permanent
access the museum exhibition
exhibition areas, includes
the auditorium as a visit
well as to
theeight
upper level. The ticket office, cloakroom, museum shop and information
exhibition halls, each with a different theme that provides a broad view of the various centre are also located in the main
hall.appearances
In this area one of canthealsoBaroque.
enjoy several large benches designed by Kazuko Fujie Atelier which were
developed in collaboration with local textile artisans in Hueyapan, Puebla. This space communicates with
 This includes the main subjects of art, architecture, theatre, music, literature and the
the exhibition hall, from which you can access both the permanent and temporary exhibitions. The
influences
permanent of Baroque
exhibition includes aon visiteveryday life. Thehalls,
to eight exhibition eighteachrooms
with a plus an theme
different outdoor terracea with
that provides
selective
broad view of theviews over
various the adjacent
appearances of the lake
Baroque.andThis
park, surround
includes a large
the main courtyard
subjects of 1800 m2,
of art, architecture,
where
theatre, visitors
music, can and
literature take theainfluences
rest freely of during
Baroquetheir visits. life. The eight rooms plus an outdoor
on everyday
terrace
In this
withextensive patio,
selective views dominating
over the adjacentthe lakespace
and park,wesurround
can find a large
a large fountain
courtyard of 1800designed
m2, where as a
visitors
swirling water motif. In the Baroque, moving water is a recurring theme; in the MIB it ais a
can take a rest freely during their visits. In this extensive patio, dominating the space we can find
large fountain designed
metaphor for theas a swirling water
'generation' motif.
of the In the Baroque, moving water is a recurring theme; in the
museum.
MIB it is a metaphor for the 'generation' of the museum.
 The museum offices are located on the upper floor at a privileged location overlooking
the park, allowing the curatorial staff to be at a creative work environment for fresh and
innovative exhibitions.
 All internal and 'back of house' functions are organised on the eastern side of the building.
Loading and unloading, the transit storage and the quarantine room are located on the
lower floor; on the upper floor we find the collections storage, restoration workshop,
museography storage and other workshops.
 These two levels are connected by a service elevator with the dimensions of 7 x 4 m and
4 m height and a capacity of 12 Tons. All rooms that hold works of art have strict
temperature and humidity control, separated from the public areas, to preserve the art
work at its optimal conditions. This control can be adapted individually to each room
providing maximum flexibility.
Mayank Dubey | 123521050021 36

7. Le Corbusier
Le Corbusier, byname of Charles-Édouard Jeanneret, (born October 6, 1887, La Chaux-de-

Fonds, Switzerland—died August 27, 1965, Cap Martin, France), internationally influential
Swiss architect and city planner, whose designs combine the functionalism of the modern
movement with a bold, sculptural expressionism.
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. In 2016, 17 of his architectural works
were named World Heritage sites by UNESCO (United Nations Educational, Scientific and
Cultural Organization).
The association with Ozenfant was the beginning of Le Corbusier’s career as a painter and
as a writer. Ozenfant and Le Corbusier (then still known as Jeanneret) together wrote a
series of articles for L’Esprit Nouveau that were to be signed with pseudonyms.
Ozenfant chose Saugnier, the name of his grandmother, and suggested for Jeanneret the
name Le Corbusier, the name of a paternal forebear. The articles written by Le Corbusier
were collected and published as Vers une architecture.
Later translated as Toward a New Architecture (1923), the book is written in a telling style
that was to be characteristic of Le Corbusier in his long career as a polemicist. “A house is
a machine for living in” and “a curved street is a donkey track, a straight street, a road for
men” are among his famous declarations.
World War II and the German occupation of France interrupted his activity as a builder and
a traveller and his 20-year association with Pierre Jeanneret, who, unlike Le Corbusier, had
joined the French Resistance.
Although he was prepared to work with the Vichy government, there was little building
being done at the time in France, and his only activities were painting, writing, and
reflection.
The Marseille project (unité d’habitation) is a vertical community of 18 floors. The 1,800
inhabitants are housed in 23 types of duplex (i.e., split-level) apartments. Common services
Mayank Dubey | 123521050021 37

include two “streets” inside the building, with shops, a school, a hotel, and, on the roof, a
nursery, a kindergarten, a gymnasium, and an open-air theatre.
The apartments are conceived as individual “villas” stacked in the concrete frame like
bottles in a rack. It was completed in 1952, and two more unítés were built at other locations
in France, at Nantes and Briey, as well as others in West Berlin.
In 1951 the government of the Punjab named him architectural advisor for the construction
of its new capital, Chandigarh. For the first time in his life, Le Corbusier was able to apply his
principles of city planning on a metropolitan scale. Totally without reference to local
tradition he designed the Palace of Justice, the Secretariat, and the Palace of Assembly.
Unfinished concrete, with windows sheltered by enormous concrete sunshades, the

sculptural facades, swooping rooflines, and monumental ramps are principal elements of
his architecture, which immediately influenced architects all over the world.
He built the National Museum of Western Art in Tokyo (1960), the Carpenter Visual Art Center
at Harvard University (1964), and designed an Exposition Pavilion in Zürich that was
constructed posthumously (1964).
Works
01. United Nations Headquarters, New York
02. Palace of Justice, Chandigarh
03. Palace of Assembly, Chandigarh
04. Notre Dame du Haut, Romchamp
05. Villa Savoye, Poissy
A.
01 Villa Savoye, Poissy
Mayank Dubey | 123521050021 38

 Situated in Poissy, a small commune outside of Paris, is one of the most significant
contributions to modern architecture in the 20th century, Villa Savoye by Le Corbusier.
Completed in 1929, Villa Savoye is a modern take on a French country house that
celebrates and reacts to the new machine age.
 The house single handedly transformed Le Corbusier’s career as well as the principles of
the International Style; becoming one of the most important architectural precedents
in the history.
 Villa Savoye’s detachment from its physical context lends its design to be contextually
integrated into the mechanistic/industrial context of the early 20th century,
conceptually defining the house as a mechanized entity.
 Le Corbusier is famous for stating, “The house is a machine for living.” This statement is
not simply translated into the design of a human scaled assembly line; rather the design
begins to take on innovative qualities and advances found in other fields of industry, in
the name of efficiency.
 In response to his aspirations and admiration of mechanized design, Le Corbusier
established “The Five Points” of architecture, which is simply a list of prescribed elements
to be incorporated in design. The Five Points of architecture can be thought of as Le
Corbusier’s modern interpretation of Vitruvius’ Ten Books on Architecture, not literally in
the sense of an instructional manual for architects, but rather a checklist of necessary
components of design. So much so that Villa Savoye is thoroughly tailored to Corbusier’s
Five Points :
o Pilotis
o Flat Roof Terrace
o Open Plan
o Ribbon Windows
o Free Façade
 At this point in Le Corbusier’s career, he became intrigued by the technology and

design of steamships. The simplistic, streamlined result born out of innovative
engineering techniques and modular design had influenced Corbusier’s spatial
planning and minimalistic aesthetic
 Upon entering the site, the house appears to be floating above the forested picturesque
background supported by slender pilotis that seem to dissolve among the tree line, as
the lower level is also painted green to allude to the perception of a floating volume.
 The lower level serves as the maintenance and service programs of the house. One of
most interesting aspects of the house is the curved glass façade on the lower level that
is formed to match the turning radius of automobiles of 1929 so that when the owner
drives underneath the larger volume they can pull into the garage with the ease of a
slight turn.
 The living quarters, or the upper volume, are fitted with ribbon windows that blend
seamlessly into the stark, white façade, which void the façade(s) of any hierarchy. The
ribbon windows begin to play with the perception of interior and exterior, which does
Mayank Dubey | 123521050021 39

 However once inside, there becomes a clear understanding of the spatial interplay
between public and private spaces. Typically, the living spaces of a house are relatively
private, closed off, and rather secluded.
 Yet, Le Corbusier situates the living spaces around a communal, outdoor terraced that is
separated from the living area by a sliding glass wall. Villa Savoye is a house designed
based on the architectural promenade. Its experience is in the movement through the
spaces.
 It is not until one becomes familiar with the subtle peculiarities that the movement and
proportionality of the spaces evokes a sense of monumentality within the Parisian suburb.
8. Jean Nouvel
Jean Nouvel, (born August 12, 1945, Fumel, Lot-et-Garonne, France), French architect who
designed his buildings to “create a visual landscape” that fit their context—sometimes by
making them contrast with the surrounding area.
For his boldly experimental designs, which defy a general characterization, he was
awarded the 2008 Pritzker Architecture Prize, and by the early 21st century Nouvel had
earned a place in the pantheon of architectural superstars.
When Nouvel was young, his parents, both teachers, suggested that, instead of following
his dream to become an artist, he should do something more practical so that he could
earn a living, and architecture provided a perfect compromise.
In 1965 Nouvel captured the first of many prizes by winning a national competition to attend
the École des Beaux-Arts in Paris. While there, he also worked for an architectural firm
formed by the Modernist architect Claude Parent and the “urbanist” and cultural theorist
Paul Virilio. Nouvel graduated in 1972 with a degree in architecture.
Nouvel first gained an international audience in 1987 when the Institute of the Arab World
(Institut du Monde Arabe [IMA]) was completed. The main, south facade of that building,
with its high-tech aperture-like panels, manages to be at once cutting-edge in its creative
response to changing levels of light and evocative of traditional Arab moucharaby
(latticework grills).
The design garnered Nouvel the 1989 Aga Khan Award for architectural excellence. Other
awards include a Golden Lion from the Venice Biennale (2000), a Royal Gold Medal from
the Royal Institute of British Architects (2001), and the Praemium Imperiale (2001), presented
by the Japan Art Association to “artists who have contributed significantly to the
development of international arts and culture.”
Nouvel’s list of completed structures includes one of the three buildings that constitute
Seoul’s Leeum Museum (2004), Barcelona’s bullet-shaped Agbar Tower (2005), the Guthrie
Theater (2006) in Minneapolis, the quirky Quai Branly Museum (2006) in Paris, and
Mayank Dubey | 123521050021 40

Copenhagen’s Concert Hall (2009), with its bright blue exterior that functions at night as a
video screen.
In 2007 he won commissions to design a 75-story mixed-use tower (later known as 53 West
53, or 53W53) next to the Museum of Modern Art in New York City (construction began in
2014) and a museum for the cultural district of Abu Dhabi, lying just offshore.
Nouvel also designed the new National Museum of Qatar (2019) in Doha, which comprised
a series of interlocking discs. The building was constructed around the restored Old Amiri
Palace, the site of Qatar’s earlier national museum.
Works
01. Torre Agbar (2004)
02. Arab World Institute (1987)
03. 100 Eleventh Avenue (2010)
04. Opéra Nouvel (1993)
05. Copenhagen Concert Hall (2009)
01 One Central Park, Chippendale, Australia

 One Central Park offered Nouvel and Blanc a canvas of an entirely new scale. Here they
built an integrated experience for living in harmony with the natural world. The public
park at the heart of the precinct climbs the side of the floor-to-ceiling glass towers to
form a lush 21st century canopy.
Mayank Dubey | 123521050021 41

 Using 250 species of Australian flowers and plants, the buds and blooms of the
vegetation form a musical composition on the façade. Vines and leafy foliage spring
out between floors and provide the perfect frame for Sydney’s skyline. Us like Central
Park New York, the 64,000 Sq. Park is a lush tranquil meeting place where you can
unwind and relax with friends and family.
 Wander or cycle through its tranquil groves or simply sit on the lawns for informal al
fresco dining. There are also chessboards and an open-air cinema, as well as
occasional markets and music festivals.
 A hovering cantilever crowns the pinnacle of One Central Park. This contains the
tower’s most luxurious penthouses. Here there are a beguiling assembly of motorised
mirrors that capture sunlight, and direct the rays down onto Central Park’s gardens.
 After dark the structure is a canvas for leading light artist Yann Kersalé’s LED art
installation that carves a shimmering firework of movement in the sky. This brings a new
starlit architectural shape to the One Central Park design.
 At the core of Central Park is a commitment to sustainability and self-sufficiency, which

is reflected in two measures incorporated in the precinct: a low carbon tri generation
power plant and an internal water recycling plant.
 Central Park is projected to utilise its own low-carbon natural gas power plant, which
shall allow for thermal energy to be produced for both residents and employees. The
first stage of this measure involves a two megawatt tri generation energy plant which,
when completed in November 2015, will run on natural gas and have the capacity to
produce carbon thermal energy, heating and cooling for 3000 residences and
65,000 square metres of retail and commercial space.
 Tri generation is believed to be twice as efficient as coal fired power plants and it is
forecasted that Central Parks’ trigeneration energy plant could reduce greenhouse
gas emissions by as much as 190,000 tonnes over the 25-year design life of the plant.
 Central park's recycled water network houses the world's biggest membrane
bioreactor recycled water facility in the basement of the residential building. It is
designed to service approximately 4,000 residents and more than 15,000 visitors and
workers daily.
 The recycled water network has the capacity to harness multiple water sources with
varying qualities and create a multitude of water supplies, which cover all the water
requirements of the community. Water sources include:
o Rainwater from roofs

o Storm water from impermeable surfaces/planter box drainage
o Groundwater from basement drainage systems
o Sewage from an adjacent public sewer
o Sewage from all buildings within the Central Park community
o Irrigation water from all green walls
o Drinking water from the public water main.
Mayank Dubey | 123521050021 42

9. Alvaro Siza
Álvaro Siza, in full Álvaro Joaquim de Melo Siza Vieira, (born June 25, 1933, Matosinhos,
Portugal), Portuguese architect and designer whose structures, ranging from swimming
pools to public housing developments, were characterized by a quiet clarity of form and
function, a sensitive integration into their environment, and a purposeful engagement with
both cultural and architectural traditions.
He was awarded the Pritzker Prize in 1992.He soon developed a deep affinity for the
discipline, and in 1954, a year before he graduated, he opened a private architecture
practice in Porto and designed four houses in his hometown (completed 1957).
Through this association, Siza received the opportunity to design the Boa Nova teahouse
and restaurant (1963; renovated 2014), a structure on the coast at Leça da Palmeira that
won acclaim for its use of diverse materials and its subtle interaction with the rocky
landscape onto which it was built.
He received further attention for another design in that town, a public swimming pool
complex (1966) in an isolated Oceanside setting in which the pools’ edges were shaped
both by concrete walls and by the beach’s natural rock formations.
For much of his early career, Siza had designed small private houses, but he turned to mass
public housing in the early 1970s, especially after Portugal’s 1974 Revolution of the
Carnations, which provided him with a sociopolitical context for his work.
Maintaining an interest in urban development, in the 1980s he began directing a long-term
renovation plan in a district of The Hague as well as a rebuilding project in the Chiado
neighbourhood of Lisbon.
Other works include the Borges and Irmão Bank (1986) in Vila do Conde, Portugal, a building
marked by dynamic curves and distinct spatial fluidity that was honoured with the inaugural
Mies van der Rohe Award for European Architecture (1988); and a cylindrical
meteorological centre (1992) in Barcelona, created for the 1992 Olympic Games.
Some of Siza’s most notable later designs were for art museums, namely the Galician Centre
of Contemporary Art (1993) in Santiago de Compostela, Spain; the Museu Serralves (1997)
in Porto; and the Iberê Camargo Museum (2008) in Porto Alegre, Brazil. Additionally, he
occasionally collaborated on small-scale projects with his compatriot and former student
Eduardo Souto de Moura.
These projects included the wooden canopy for the 2005 Serpentine Gallery Pavilion,
London, and the renovation of the Municipal Museum Abade Pedrosa and an addition to
house the International Contemporary Sculpture Museum (2016), both in Santo Tirso,
Portugal.
Mayank Dubey | 123521050021 43

Works
01. Piscinas de Marés at Leça da Palmeira, 1959-1973.

02. Marco de Canavezes Church, 1990-1996.
03. Expo'98 pavilion of Portugal with its concrete veil, 1998.
04. Ibere Camargo Foundation, 2008.
05. Museu Nadir Afonso, 2016.
01 Leça Swimming Pools

 Since its completion in 1966 the Leça Swimming Pool complex, by Portuguese architect
Alvaro Siza, has been an internationally recognized building. Still almost half a century
later, it has gracefully retained its architectural integrity and remained a popular
retreat.
 The Leça Swimming Pools has established itself as one of Siza’s greatest early works, and
as an example of his careful reconciliation between nature and his design. The Leça
Swimming Pools were one of Alvaro Siza’s first solo projects.
 After graduating from the University of Porto in 1955, he worked briefly with architect
Fernando Tavora before setting up a studio as an independent architect. He is still
practicing and has received various awards and accolades for his work, including the
Pritzker Architecture Prize in 1992.
 The Leça de Palmeira beaches are on the northern coastline of Matosinhos, a small
town to the north of Porto, as well as Siza’s birthplace. It is also the site of another early
work of Siza’s, the Boa Nova Tea House.
Mayank Dubey | 123521050021 44

 Both the Leça Swimming Pools and the Boa Nova Tea House were constructed and
completed around the same time in the mid 1960s. They both use concrete and have
a similar respect for the natural rocky coastline near Siza's home.
 The Leça Swimming Pool complex consists of changing rooms, a café and two
swimming pools, one for adults and one for children. It is located between the Atlantic
Ocean and the access road that follows the coastline, but positioned almost
completely out of sight.
 By sinking the building behind the road Siza promotes a disconnect between his pools
and the infrastructure of the city. He is also considerate of the ocean views from the
roadway.
 Siza was careful to preserve a large portion of the existing rock formations when
planning his modern interventions into the landscape. The pools he created reach out
into the ocean and blend easily with the natural pool formations along the coast of the
Atlantic.
 Visitors to the Leça Swimming Pools enter down a smooth concrete ramp parallel to the
road. As they walk towards the corridors to shower stalls and changing rooms, the rough
concrete walls begin to obscure the views of both the traffic behind and the ocean
ahead.
 With no views, the ocean beyond becomes audible and the transition between
roadway and ocean is captured in an sensory experience within the buildingVisitors exit
the changing rooms onto a series of platforms. Looking back, a previously unseen view
of the building emerges now below the street level.
 The straight walls hold their own against the surrounding stone and the building acts as
an attractive barrier from the road above. The color of the concrete walls is a shade
lighter than that of the natural stone, and this view of the juxtaposed materials
demonstrates Siza’s appreciation of the natural setting with his restraint to avoid
imitation.
10. Louis Sullivan
Louis Sullivan, in full Louis Henry Sullivan, (born September 3, 1856, Boston, Massachusetts,
U.S.—died April 14, 1924, Chicago, Illinois), American architect, regarded as the spiritual
father of modern American architecture and identified with the aesthetics of early
skyscraper design.
His more than 100 works in collaboration (1879–95) with Dankmar Adler include the
Auditorium Building, Chicago (1887–89); the Guaranty Building, Buffalo, New York (1894–95;
now Prudential Building); and the Wainwright Building, St. Louis, Missouri (1890–91). Frank
Lloyd Wright apprenticed for six years with Sullivan at the firm. In independent practice from
1895, Sullivan designed the Schlesinger & Mayer department store (1898–1904; now the
Sullivan Center) in Chicago.
Mayank Dubey | 123521050021 45

He discussed his ideas in New York City with Richard Morris Hunt, one of the fashionable
architects of the day and the first American to study architecture at the Beaux-Arts. Hunt
suggested he work with the Philadelphia firm of Furness and Hewitt.
Sullivan was hired, staying for several months until work dwindled in the economic panic of
1873. In November he left for Chicago and was soon employed in the architectural office
of a prominent figure in the development of the style of the Chicago School, William Le
Baron Jenney.
The 10-story Wainwright Building in St. Louis is the most important skyscraper designed by
Sullivan. Unlike the Auditorium Building, the exterior walls of which are solid masonry and
load bearing, it is of steel frame throughout, an idea advanced by William Le Baron Jenney
in 1883–85 in Chicago.
Jenney and others were unable to give visual expression to the height of a tall building and
often resorted to unsuitable historical styles. Sullivan, however, took the problem in hand
and made his design a “proud and soaring” unity.
He gave his building a two-story base, above which the vertical elements are stressed and
the horizontals, being recessed, are minimized. These vertical rhythms are capped by a
deep decorative frieze and a projecting cornice.
The 16-story Guaranty (now Prudential) Building in Buffalo by Adler and Sullivan is similar
except that its surface is sheathed in decorative terra-cotta instead of red brick. Both
buildings are among the best of Adler and Sullivan’s work.
Works
01. Martin Ryerson Tomb, Graceland Cemetery, Chicago (1887)

02. Auditorium Building, Chicago (1889)
03. Carrie Eliza Getty Tomb, Graceland Cemetery, Chicago (1890)
04. Wainwright Building, St. Louis (1890)
05. Guaranty Building (formerly Prudential Building), Buffalo (1894)
01 Wainwright Building, St. Louis, Missouri

 The Wainwright Building (also known as the Wainwright State Office Building) is a 10-story,
41 m (135 ft.) terra cotta office building at 709 Chestnut Street in downtown St. Louis,
Missouri. The Wainwright Building is considered to be one of the first aesthetically fully
expressed early skyscrapers. It was designed by Dankmar Adler and Louis Sullivan and
built between 1890 and 1891. It was named for local brewer, building contractor, and
financier Ellis Wainwright.
 The building, listed as a landmark both locally and nationally, is described as "a highly
influential prototype of the modern office building" by the National Register of Historic
Places. Architect Frank Lloyd Wright called the Wainwright Building "the very first human
expression of a tall steel office-building as Architecture."
Mayank Dubey | 123521050021 46

 The building is currently owned by the State of Missouri and houses state offices. The
Wainwright building was commissioned by Ellis Wainwright, a St. Louis brewer. Wainwright
needed office space to manage the St Louis Brewers Association.
 It was the second major commission for a tall building won by the Adler & Sullivan firm,
which had grown to international prominence after the creation of the ten-story
Auditorium Building in Chicago (designed in 1886 and completed in 1889).
 As designed, the first floor of the Wainwright Building was intended for street-accessible
shops, with the second floor filled with easily accessible public offices. The higher floors
were for "honeycomb" offices, while the top floor was for water tanks and building
machinery.[
 Aesthetically, the Wainwright Building exemplifies Sullivan's theories about the tall
building, which included a tripartite (three-part) composition (base-shaft-attic) based
on the structure of the classical column, and his desire to emphasize the height of the
building.
 He wrote: "[The skyscraper] must be tall, every inch of it tall. The force and power of
altitude must be in it the glory and pride of exaltation must be in it. It must be every inch
a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit
without a single dissenting line."
 His 1896 article cited his Wainwright Building as an example. Despite the classical column
concept, the building's design was deliberately modern, featuring none of the
neoclassical style that Sullivan held in contempt.
 Historian Carl W. Condit described the Wainwright as "a building with a strong, vigorously
articulated base supporting a screen that constitutes a vivid image of powerful upward
Mayank Dubey | 123521050021 47

Movement." The base contained retail stores that required wide glazed openings;
Sullivan's ornament made the supporting piers read as pillars.
 Above it the semi-public nature of offices up a single flight of stairs are expressed as
broad windows in the curtain wall. A cornice separates the second floor from the grid
of identical windows of the screen wall, where each window is "a cell in a honeycomb,
nothing more".
 The building's windows and horizontals were inset slightly behind columns and piers, as
part of a "vertical aesthetic" to create what Sullivan called "a proud and soaring
thing."[15] This perception has since been criticized as the skyscraper was designed to
make money, not to serve as a symbol.
11. Louis I. Kahn
Louis Kahn, in full Louis Isadore Kahn, also called Louis I. Kahn, (born February 20, 1901, Osel,
Estonia, Russian Empire [now Saaremaa, Estonia]—died March 17, 1974, New York, New
York, U.S.), American architect whose buildings, characterized by powerful, massive forms,
made him one of the most discussed architects to emerge after World War II.
Kahn designed private residences and worker housing in the 1930s and ’40s. He became a
professor of architecture at Yale University in 1947. After a fellowship at the American
Academy in Rome (1950), which deepened his appreciation of Mediterranean
architecture, Kahn carried out his first important work: the Yale University Art Gallery (1952–
54) at New Haven, Connecticut, which marked a notable departure from his International
Style buildings of the previous decade.
In 1957 Kahn was named professor of architecture at the University of Pennsylvania. His
Richards Medical Research Building (1960–65) at the university is outstanding for its
expression of the distinction between “servant” and “served” spaces.
The servant spaces (stairwells, elevators, exhaust and intake vents, and pipes) are isolated
in four towers, distinct from the served spaces (laboratories and offices). Laboratory
buildings had been designed this way for decades; Kahn elevated this practical feature
into an architectural principle.
His mature style, best exemplified by the Salk Institute for Biological Studies, La Jolla,
California (1959–65), and the Yale Center for British Art, New Haven (1977), combined the
servant-served typology with inspiration from classical and medieval architecture, basic
geometric forms, and an elegant, expressive use of such familiar materials as concrete and
brick.
Mayank Dubey | 123521050021 48

Works
01. Yale University Art Gallery, New Haven, Connecticut (1951–1953)
02. Indian Institute of Management, Ahmedabad, in Ahmedabad, India (1961)
03. National Institute of Cardiovascular Diseases (NICVD), Dhaka, Bangladesh (1963)
04. Arts United Center, Fort Wayne, Indiana (1973)
05. Jatiyo Sangshad Bhaban (National Assembly Building) in Dhaka, East Pakistan (modern
Bangladesh)
01 National Assembly Building) Dhaka, Bangladesh
 Modernist architecture is traditionally understood to be utilitarian, sleek, and most of all

without context, such that it can be placed in any context and still stay true to aesthetic
principles and its functional requirements.
 However, Louis Kahn’s National Assembly Building of Bangladesh in Dhaka is an
extraordinary example of modern architecture being transcribed as a part of Bangali
vernacular architecture. The National Assembly building, completed in 1982, stands as
one of Kahn’s most prominent works, but also as a symbolic monument to the
government of Bangladesh.
 The National Assembly Building was conceptually conceived in 1959 by the government
of Pakistan as an extension to their parliamentary headquarters. It wasn’t until 1962 that
Louis Kahn was commissioned to design the governmental headquarters.
Mayank Dubey | 123521050021 49

 In March of 1971 construction was halted as Bangladesh had declared independence

from Pakistan. Originally, Kahn had intended to make a building of monumental
presence, but after Bangladesh had officially broke from Pakistani rule in December of
1971 the project became much more of a symbol of democracy and pride for the
Bengali people. The building was finally completed in 1982 at more than double the
initial estimated cost for completion at $32 million.
 As impressive as the National Assembly Building’s coming of age is, Louis Kahn’s design
is the most intriguing aspect of the project. As mentioned before modern architecture
does not bode well with identity; its identity sits within the autonomous dichotomy of
modern architects and their work far from culture and architectural precedents.
 The National Assembly Building is unique in the sense that it is modernist in principle, but
it is a project deeply rooted in its context, the citizens, and Bengali vernacular. With most
modern buildings, it can be placed almost anywhere in the world without much fuss,
which does not exactly work with the National Assembly.
 Kahn’s designed called for simplistic local materials that were readily available and
could be implemented in distinctly similar ways that would protect against the harsh
desert climate integrating a modern building into an otherwise non-modern context.
 The National Assembly Building sits as a massive entity in the Bengali desert; there are
eight halls that are concentrically aligned around the parliamentary grand chamber,
which is not only a metaphor for placing the new democratic government at the heart
of the building.
 It also is part of Kahn’s design objectives to optimize spatial configurations where the
supporting programs (offices, hotels for parliamentary officials, and a restaurant) project
out of the center volume.
 The entire complex is fabricated out of poured in place concrete with inlaid white
marble, which is not only a modernist statement of power and presence, but is more of
a testament to the local materials and values.
 The sheer mass of the monumentally scaled National Assembly and the artificial lake
surrounding the building act as a natural insulator and cooling system that also begin to
create interesting spatial and lighting conditions.
 The geometric shapes found on the different faces of the façade add a dramatic
impact to the overall composition of the building. The geometric shapes are abstracted
forms found in traditional Bangali culture that are meant to create a marriage of old
and new cultural identities, as well as, serve as light wells and a natural environmental
control system for the interior.
 For Kahn, light was an important aspect in the design of a building, not just as a way to
illuminate a space, but rather conceptualizing light as a creator of space.
Mayank Dubey | 123521050021 50

12. Frank Lloyd Wright
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.
The first work from the new office, a house for W.H. Winslow, was sensational and skilful
enough to attract the attention of the most influential architect in Chicago, Daniel
Burnham, who offered to subsidize Wright for several years if Wright would study in Europe
to become the principal designer in Burnham’s firm. It was a solid compliment, but Wright
refused, and this difficult decision strengthened his determination to search for a new and
appropriate Midwestern architecture.
Utilizing mass-produced materials and equipment, mostly developed for commercial

buildings, the Prairie architects discarded elaborate compartmentalization and detailing
for bold, plain walls, roomy family living areas, and perimeter heating below broad glazed
areas.
Comfort, convenience, and spaciousness were economically achieved. Wright alone built
about 50 Prairie houses from 1900 to 1910. The typical Wright-designed residence from this
period displayed a wide, low roof over continuous window bands that turned corners,
defying the conventional boxlike structure of most houses, and the house’s main rooms
flowed together in an uninterrupted space.
The administrative block for the Larkin Company, a mail-order firm in Buffalo, New York, was
erected in 1904 (demolished in 1950). Abutting the railways, it was sealed and fireproof,
with filtered, conditioned, mechanical ventilation; metal desks, chairs, and files; ample
sound-absorbent surfaces; and excellently balanced light, both natural and artificial.
Two years later the Unitarian church of Oak Park, Illinois, Unity Temple, was under way; in
1971 it was registered as a national historic landmark. Built on a minimal budget, the small
house of worship and attached social centre achieved timeless monumentality.
Wright was a great originator and a highly productive architect. He designed some 800
buildings, of which 380 were actually built and a number are still standing. UNESCO
designated eight of them—including Falling water, the Guggenheim Museum, and Unity
Temple—as World Heritage sites in 2019.
Throughout his career Wright retained the use of ornamental detail, earthy colours, and rich
textural effects. His sensitive use of materials helped to control and perfect his dynamic
expression of space, which opened a new era in American architecture.
He became famous as the creator and expounder of “organic architecture,” his phrase
indicating buildings that harmonize both with their inhabitants and with their environment.
The boldness and fertility of his invention and his command of space are probably his
greatest achievements.
Mayank Dubey | 123521050021 51

Works
1. Frank Lloyd Wright Home and Studio, Oak Park, Illinois, 1889–1909
2. William H. Winslow House, River Forest, Illinois, 1894
3. Frank Thomas House, Oak Park, Illinois, 1901
4. Ward Winfield Willits Residence, and Gardener's Cottage and Stables, Highland Park,
Illinois, 1901
5. Dana-Thomas House, Springfield, Illinois, 1902
01 Falling water, Mill Run, United States

 Frank Lloyd Wright designed an extraordinary house known as Falling water that
redefined the relationship between man, architecture, and nature. The house was built
as a weekend home for owners Mr Edgar Kaufmann, his wife, and their son, whom he
developed a friendship with through their son who was studying at Wright's school, the
Taliesin Fellowship.
 The waterfall had been the family's retreat for fifteen years and when they
commissioned Wright to design the house they envisioned one across from the waterfall,
so that they could have it in their view. Instead, Wright integrated the design of the house
with the waterfall itself, placing it right on top of it to make it a part of the Kaufmanns'
lives.
 Wright's admiration for Japanese architecture was important in his inspiration for this
house, along with most of his work. Just like in Japanese architecture, Wright wanted to
create harmony between man and nature, and his integration of the house with the
waterfall was successful in doing so.
 Falling water consists of two parts: The main house of the clients which was built between
1936-1938, and the guest room which was completed in 1939. The original house
contains simple rooms furnished by Wright himself, with an open living room and
compact kitchen on the first floor, and three small bedrooms located on the second
floor.
 The third floor was the location of the study and bedroom of Edgar Jr., the Kaufmann's
son. The rooms all relate towards the house's natural surroundings, and the living room
even has steps that lead directly into the water below.
 The circulation through the house consists of dark, narrow passageways, intended this
way so that people experience a feeling of compression when compared to that of
expansion the closer they get to the outdoors. The ceilings of the rooms are low,
reaching only up to 6'4" in some places, in order to direct the eye horizontally to look
outside.
 The beauty of these spaces is found in their extensions towards nature, done with long
cantilevered terraces. Shooting out at a series of right angles, the terraces add an
element of sculpture to the houses aside from their function.
Mayank Dubey | 123521050021 52

 The terraces form a complex, overriding horizontal force with their protrusions that
liberated space with their risen planes parallel to the ground. In order to support them,
Wright worked with engineers Mendel Glickman and William Wesley Peters.
 Their solution was in the materials. The house took on "a definite masonry form" that
related to the site, and for the terraces they decided on a reinforced-concrete structure.
 It was Wright's first time working with concrete for residences and though at first he did
not have much interest in the material, it had the flexibility to be cast into any shape,
and when reinforced with steel it gained an extraordinary tensile strength.
 The exterior of Falling water enforces a strong horizontal pattern with the bricks and long
terraces. The windows on the facade have also have a special condition where they
open up at the corners, breaking the box of the house and opening it to the vast
outdoors.
 The perfection of these details perfected the house itself, and even though the house
tends to have structural problems that need constant maintenance due to its location,
there is no question that Fallingwater, now a National Historic Landmark, is a work of
genius.
 From its daring cantilevers to its corner window detail and constant sound of the
waterfall, Fallingwater is the physical and spiritual occurence of man and architecture in
harmony with nature.
Mayank Dubey | 123521050021 53

13. Achyut Kanvinde
Kanvinde was born in 1916 in a small village on the Konkan coast. Raised in a joint family in
the village. Kanvinde had the calling of a painter and did enroll in an art school but the
family decided that architecture would be a better profession for him.
He entered the Architecture Department at Sir J.J. School of Art in 1935 then headed by
Claude Batley, who was also the premier architect of the country. He passed out in 1941.
1943, he joined the newly formed Council for Scientific and Industrial Research as
architect. Achyut Kanvinde attended Harvard Graduate school of Design in 1945. In ‘47
appointed as the Chief Architect of CSIR. Formed Kanvinde and Rai in 1955.
In his practice he avoided the loud, revolutionary éclat of the machine-age imagery
popular in the west in favour of an archeologically literate fusion of Western classical order
with Indian building traditions and coupled with sound climatological principles.
His works and his thinking were obvious models for his students. Then had a reputation of
being the new fountainhead of functional and social promise of Modern Architecture
under its émigré director Walter Gropius.
He graduated with a thesis on science laboratories, returned to India in 1947 as the Chief
Architect of CSIR. It is believed that Gropius’s insistence for using space as a tool for
expressing universal human values was what left most lasting influence on his mind.
The institutional buildings he designed in the first five years, are conservative. All having:
 Similar facades.
 Horizontal, clean volumes,
 Aesthetically pleasing proportions of fenestration.
 Ribbon windows.
 A grid frame structure- unexposed, and plastered exterior finish.
Each appears to be an exploration in a distinctly new direction. The Harivallabdas House

has been taken up in detail later on. The Doodhsagar dairy is monstrous, raw, and probably
one of the first outbursts of what can be called Kanvinde’s brutalism.
The form is very rough, and blocky. He has always been described to be modest and
approachable, and always has preferred to keep a low profile. This building presents a stark
contrast to his character.
Though there is thus a clear agreement about his early works, there is no accepted view on
whether his later works were an evolution of the Modern view or a new approach. He
questioned the basic values of modernism early on, his major work speaks of his adaptation
of the modernist/ brutalist style.
Awarded Padma Shree in 1976. President IIA (1974-75) Co-Authored book “Campus Design
in India”.
Mayank Dubey | 123521050021 54

IIA’s Babu Rao Mhatre Gold Medal for life time achievement in 1985 Great Masters Award
from JK Industries Ltd. in 1993. Was also a part of the jury on the competition for the Indira
Gandhi National Center for Arts, along with B.V. Doshi.
Works
1. Harivallabdas House
2. IIT Kanpur
3. Doodhsagar Dairy
4. National Science Center, New Delhi (1991)
5. Nehru Science Center, Mumbai (1985)
01 IIT Kanpur Campus (1966)
 IIT-Kanpur is located on the Grand Trunk Road, 15 km west of Kanpur City and measures
close to 420hectares. This land was gifted by the Government of Uttar Pradesh in 1960
and by March 1963 the Institute had moved to its current location.
 By the end of 1960s Kanvinde’s expressive architecture was variously interpreted as “an
architectural expression that reflected the culture and aspirations” and “clearly
reflected the rise of the Brutalist polemic of architecture”.
 Expressed Concrete structure in combination with brick became the dynamic

determinant of form and order.
 Here the paradox is that what (Brutalism) in the West was popular for the dynamism and
the aesthetic of vigour, in neo-Gandhian India of 1970s is regarded a realistic and
expressive product of India.
 In retrospect, that style shows a remarkable similarity with the brute morphology of
vernacular architecture in parts of India. In Kanpur, the local availability of high quality
brick and the prevalent labour and construction practices made Kanvinde go for
reinforced concrete for structural frames and brick as infill.
 Guided though he was by ‘pragmatics’ of construction, Kanvinde made an ‘aesthetic’

use of the two materials, while on the other hand Kahn, guided by ‘expressive’ motives
had ultimately used the two materials to show the ‘rationality’ and ‘logic’ of organisation
and order, an ‘intellectual’ and ‘pragmatic’ result. Another facet of Indian Architecture,
which is ironical in the way it transforms building concepts, is the labour intensive building
industry.
 Kanvinde observed that “Our architectural expression is in a most confused state as

there is neither clear thinking nor definite ideology, the architects who are confronted
with problems peculiar to modern functional design have to, at the same time, create
an architectural expression that would reflect the present-day culture of India”.
Mayank Dubey | 123521050021 55

 The IITK campus occupies a 1055 acre area. The Academic Complex is located centrally
at the site and free from traffic noise. Academic buildings: 13 departments, PK Kelkar
Library, Computer Centres faculty offices, laboratories and administrative buildings
Around 7000 students, 390 faculty, and 1000 staff members (and their families) reside on
campus. No. of buildings: 108, 10 boys hostel and 2 girls hostel. With Sports complex,
Housing for faculty.
 The site is flat with the canal on one side and transportation route on the other side.
Pedestrian and vehicular traffic are completely segregated. The residential campus is
planned and landscaped with a hope for environmental freedom.
 Halls of residence, faculty and staff houses and community buildings surround the
central academic area to provide flexibility in movement and communication. Core
Pedestrian Island which consist of lecture halls surrounded by landscaping and water
body forming the main focus of the campus.
 The academic area is well connected by a long corridor which links all the major
buildings. The academic area is set up in vicinity of Hostels to provide quick accessibility
to students. Conventional type of buildings were designed as isolated islands of
departments.
 Activities which students and faculties share are designed to encourage meeting and
interaction Institute's Academic Area comprises academic buildings and facilities
including the PK Kelkar Library, Computer Centre, National Wind Tunnel Facility and SIDBI
Innovation and Incubation Centre.
 It also houses faculty offices, laboratories and administrative buildings. The academic
area is connected by a long corridor which links all the major buildings. SIDBI
INNOVATION & INCUBATION CENTRE
Mayank Dubey | 123521050021 56

14. B. V. Doshi
Balkrishna Doshi, in full Balkrishna Vithaldas Doshi, also called B.V. Doshi, (born August 26,
1927, Pune, India), Indian architect, the first from that country to be awarded the prestigious
Pritzker Prize (2018). In a career spanning about seven decades, Doshi completed more
than 100 projects, many of which were public institutions based in India: schools, libraries,
art centres, and low-cost housing.
His understated buildings adapted the principles he learned from working with Le Corbusier
and Louis Kahn to the needs of his homeland. In considering India’s traditions, lifestyles, and
environment, Doshi designed structures that offered refuge from the weather and provided
spaces in which to gather.
Doshi’s early works show the influence of his mentors’ projects in India. The School of
Architecture in Ahmedabad, which Doshi founded and designed in 1966, recalls the grid
facade of the Mill Owners’ Association Building, while the use of brick and concrete evokes
the Villa Sarabhai.
Appreciative of Le Corbusier’s ability “to create a soft light that makes people’s faces
glow,” Doshi included slanted skylights and sliding doors to manipulate light and to regulate
temperature. Ever mindful of India’s heat, he included recessed plazas shaded by leafy
trees throughout the campus to offer spaces where students could meet in comfort. It was
renamed the Centre for Environmental Planning and Technology (CEPT University) in 2002.
Students assisted in designing each new addition, using similar forms and materials so that
the entire campus felt cohesive.
Doshi quickly became known for his commitment to providing affordable housing
throughout India, where a shortage of homes had plagued cities for decades. Notably, he
designed the Life Insurance Corporation Housing in Ahmedabad (1973) and the Aranya
Low Cost Housing in Indore (1989).
The latter, arguably his best-known project, was a township for low- to middle-income
families. The master plan called for a central spine of private businesses and houses
constructed on each side. A cluster of 10 residences share a central courtyard, while paved
streets and squares break up the ordered space.
Doshi offered future inhabitants a selection of 80 models that ranged from one-room units
to larger houses that suited different needs and incomes. The minimalist designs show
Doshi’s dedication to waste little space and material. The completed township provides
80,000 individuals with 6,500 residences.
Works
1. Kamala House, Ahmedabad, India.

2. Life Insurance Corporation Housing, Ahmedabad, India
3. Amdavad Ni Gufa, India, Ahmedabad, India
4. School of Architecture, CEPT, Ahmedabad, India
5. National Institute of Fashion Technology, India
Mayank Dubey | 123521050021 57

01 Sangath, Ahmedabad, India
 Balkrishna Doshi's own studio,

Sangath, features a series of
sunken vaults sheathed in china
mosaic as well as a small grassy
terraced amphitheater and
flowing water details. Having been
considered the building that fully
describes himself.
 Sangath is a complete
combination of Doshi's
architectural themes from his
previous work including complex
interiors and structures, ambiguous
edges, vaults and terraces. The
path turns and forces the
occupant off of the north-south
axis and alongside the elevated
garden walls. Now visible in
perspective, the vaults begin to
recede into the background
above the grassy amphitheatre,
water channels and gardens in the
foreground.
 As one passes by the reflecting

ponds that capture the vaults in
still water the entrance is made
apparent. It lies at the end of an
angled approach to the vaults.
The main entry lowers the visitor a
few steps into the a vault and
proposes the choice of ascending
a flight of stairs in a three story
height, or proceeding through
small corridor by Doshi's office and
into the main drafting hall.
 Here the ceiling plane rises as the inhabitant experiences how Doshi interlocks multi
height spaces and creates compression and release between them. The underside of
the vault in the main drafting room is finished with a textured concrete that dispersed
natural light into the space. At the end of the hall lies the opening seen from the site
entrance and one regains their sense of place along the main axis.
Mayank Dubey | 123521050021 58

 Sangath also expresses Balkrishna Doshi's desire for a connection between nature and
the individual. The overall form exaggerates the details of nature with its rolling mounds,
cave-like spaces, terraced land, playful water channels, and reflective surfaces.
 Storm water in funnelled through the site by the slick, round vaults and water troughs. The
sunken interior spaces are insulated by clay within the structure. Heat from the sun is
reduced by grassy mounds and the white reflective china mosaic that covers each
vault.
 Natural light is also filtered into the interior spaces during the day, while the moon is
reflected in the ponds and across the china mosaics at night.
 Along with natural connections, Sangath holds connections to India's culture. The layout
resembles the way that a temple develops a series of stages into a final platform while
the form loosely imitates the boldness of a stupa.
 Other references to modern styles are also apparent with the Le Corbusier ear shaped
pool; amphitheatre steps resembling those by Aalto and Wright; Gaudi's broken china
mosaic; and a water feature similar to that of Kahn's Salk Institute.
Mayank Dubey | 123521050021 59

15. Charles Correa

Charles Correa, in full Charles Mark Correa, (born September 1, 1930, Secunderabad,
Hyderabad, British India [now in Telangana state, India]—died June 16, 2015, Mumbai,
India), Indian architect and urban planner known for his adaptation of Modernist tenets to
local climates and building styles. In the realm of urban planning, he is particularly noted
for his sensitivity to the needs of the urban poor and for his use of traditional methods and
materials.
Correa’s early work combined traditional architectural values—as embodied in the

bungalow with its veranda and the open-air courtyard—with the Modernist use of materials
exemplified by figures such as Le Corbusier, Louis I. Kahn, and Buckminster Fuller.
In particular, Correa was influenced by Le Corbusier’s use of striking concrete forms. The
importance of the site was a constant in Correa’s approach. Complementing the Indian
landscape, he worked on an organic and topographic scale in early commissions such as
his Gandhi Smarak Sangrahalaya (1958–63) in Ahmedabad and the Handloom Pavilion
(1958) in Delhi. Considerations of the Indian climate also drove many of Correa’s decisions.
For residential commissions, he developed the “tube house,” a narrow house form designed
to conserve energy. This form was realized in the Ramkrishna House (1962–64) and the
Parekh House (1966–68), both in Ahmedabad, which has a hot and arid climate. Also in
response to climate, Correa often employed a large over sailing shade roof or parasol, an
element first seen in the Engineering Consultant India Limited complex (1965–68) in
Hyderabad.
When designing in the midst of overpopulated cities, he tried to create quasi-rural housing
environments, as is evident in his low-cost Belapur housing sector (1983–86) in Navi Mumbai.
In all of his urban planning commissions, Correa avoided high-rise housing solutions,
focusing instead on low-rise solutions that, in combination with common spaces and
facilities, emphasized the human scale and created a sense of community.
His later works, which continued his long-standing interests, include Surya Kund (1986) in
Delhi; the Inter-University Centre for Astrology and Astrophysics (1988–92) in Pune,
Maharashtra; and the Jawahar Kala Kendra arts complex (1986–92) in Jaipur, Rajasthan.
From 1985 to 1988 he served as chairman of India’s National Commission on Urbanisation,

and from 1999 he served as a consulting architect to the government of Goa.Correa taught
in many universities, both in India and abroad, including MIT and Harvard University (both
in Cambridge, Massachusetts) and the University of London.
His many awards included the Padma Shri (1972) and Padma Vibushan (2006), two of
India’s highest honours; the Royal Gold Medal for Architecture (1984) from the Royal
Institute of British Architects; the Praemium Imperiale prize for architecture (1994), awarded
by the Japan Art Association; and the Aga Khan Award for Architecture (1998).
Mayank Dubey | 123521050021 60

Works
1. Sabarmati Ashram designed by Charles Correa

2. Kanchanjunga apartments in Bombay by Charles Correa
3. Incremental Housing planned by Charles Correa
4. The National Crafts Museum designed by Charles Correa
5. The Inter University Centre for Astronomy and Physics, Pune designed by Charles Correa
01 Kanchanjunga apartments, Bombay, India
 By developing climatic solutions for different sites and programs, Indian architect Charles
Correa designed the Kanchanjunga Apartments. Located in Mumbai, the U.S.
equivalent of New York City in terms of population and diversity, The 32 luxury
apartments are located south-west of downtown in an upscale suburban setting
embodying the characteristics of the upper echelon of society within the community.
 The Kanchanjunga Apartments are a

direct response to the present culture,
the escalating urbanization, and the
climatic conditions for the region.
 In Mumbai, a building has to be oriented

east-west to catch prevailing sea breezes
and to open up the best views of the city.
Unfortunately, these are also the
directions of the hot sun and the heavy
monsoon rains.
 Smaller displacements of level were

critical in this work in that they
differentiated between the external
earth’s filled terraces and the internal
elevated living volumes.
 These subtle shifts enable Correa to

effectively shield these high rise units from
the effects of both the sun and monsoon
rains. This was largely achieved by
providing the tower with relatively deep,
garden verandas, suspended in the air.
 The building is a 32 story reinforced concrete structure with 6.3m cantilevered open terraces. The
central core is composed of lifts and provides the main structural element for resisting lateral loads.
The central core was constructed ahead of the main structure by slip method of construction. This
technique was used for the first time in India for a multi-storey building.
Mayank Dubey | 123521050021 61

 The concrete construction and large areas of white panels bears a strong resemblance to
modern apartment buildings in the West, perhaps due to Correa's western education. However,
the garden terraces of the Kanchanjunga Apartments are actually a modern interpretation of
a feature of the traditional Indian bungalow: the veranda.
16. Raj Rewal
He lived in Delhi and Shimla for a couple of years in his childhood that is from 1939 – 1951.
He attended Harcourt Butler higher secondary school. In 1951-1954, he attended Delhi
School of Architecture in New Delhi.
He was very imaginative and a creative person. His imaginative perception helped him go
a long way. He believed in gaining knowledge and then applied his knowledge mingled
with creativity in his projects.
After completing the post-graduation in Architecture; in 1955-1961, he moved to London

and attended the architectural association of architecture for one year. He completed his
formal professional training at the Brixton School of building, London.
Raj Rewal took up his first job as an assistant stage manager for several avante grade
theatre production in London. He became an associate of the Royal Institute of British
Architects, London.
Mayank Dubey | 123521050021 62

Raj Rewal worked with Michel Ecochards’s office in Paris before starting his practice in New
Delhi. He designed designed the Asian Village and the Parliament Library in New Delhi. He
got married to a Lady named Helene from France in 1962.
He set up his own architectural practice in 1962 when he returned back to Delhi. In 1963-
72, he taught at the Delhi School of Architecture. He opened his second Architectural
Office at Tehran, Iran in 1974. Ram Sharma was his associate in the foundation of the
Architectural Research Cell in 1985.
In 1986, he became the curator of the exhibition “Traditional Architecture in India” for the
festival of India in Paris.
He was assigned a Project of the design of a Parliament Library which he designed

beautifully with lot of grace and also adding majestic qualities to the structure.
He convinced the European consultants to develop an unusual structural system for the
Ismaili centre and the central public works department to undertake the construction of
stone columns and Ferro cement domes for the Parliament Library.
The two major influence that he encountered is the time when he returned to India. He
admits that those influences have helped him in his development as an architect.
1. When he became a Professor at the School of Planning and Architecture in New Delhi
2. After studying the Projects of Le Corbusier
Corbusier made contemporary designs. After the success achieved by him in the planning
of Chandigarh City, it became evident to Raj Rewal that Modern means can be applied
to build in India. He developed a sense of Contemporary style as well as learned to retain
the traditionalism of India. His working experience that he gained while he was working as
an assistant manager for several Avante Grade theatre productions in London.
As a set designer for the drama shows, he learnt that each dramatic work had a particular
character which he interpreted as the rasa of the building.
Works
1. Asian Games Village by Raj Rewal

2. Delhi Metro Corporation Headquarters
3. Sham Lal House by Raj Rewal
4. National Institute of Immunology
5. French Embassy Staff Quarters
B.
C.
D.
E.
Mayank Dubey | 123521050021 63

01 Asian Games Village, Delhi, India

Asian games village is a multi-family housing project located in Delhi designed by
renowned architect Raj Rewal. Rewal used modern architecture style in the Asian games
village. In Asian games housing, the urban pattern of Jaipur and Jaisalmer has been
exploited.
Asian games village is first of its kind in the game series to house athletes of the Asian games.
Builts on the remains of the 15th century khilji dynasty of Siri fort. The complex is situated in
siri fort area near hauz khas village, Delhi.
The site is surrounded by Siri fort sports complex on the northern side, shahpur jat village on
the southern side, a green belt on the eastern side. The complex has a common entry and
exit gate which connects to the main road.
The hierarchy of Courtyards is present at different levels of the complex. The complex
consists of 700 housing units out of which 200 were individual houses and 500 apartments
which vary from 2 to 4 story structures. Design features that used in Asian games village.
Clustering of buildings, Courtyard providing public space within the building.
Scattering of terraces creating an interactive space. Streets are narrow, shaded broken up
into small units creating pauses, points of rest, and changing points.
Green areas and Courtyards are spread all over the site which can be accessed from
almost all sides of the site. Terraces that are formed provide semi-private space which
obviously reminds the characteristics of houses of Jaisalmer.
Vehicular and pedestrian movement is segregated but closely interlinked for convenience
Peripheral roads are connected to cul-de-sac parking areas where it gives access to
dividable garages or car porches attached to houses or apartment blocks. The parking
space is on the ground only and has no basement or stilt for the same.
The basic unit of 4 apartment is designed in such a way that it is linked with the Courtyard
in between to create a variety of interlinking spaces. The central spine of the Asian games
village is reserved for the pedestrian courts and streets of various clusters.
Each 2bhk flats faces an internal Courtyard A small cluster has 2 apartments on one level
served by a single core. A two small cluster share a Courtyard. 3 sets of two clusters each
make a big cluster. This cluster faces the Courtyard which internally connected the
combination of various dwelling type In an urban pattern of unusual diversity makes the
Asian games village quite remarkable.
Mayank Dubey | 123521050021 64

The public Courtyard accommodates a multiple of activities like festivals, marriages,

playing area. Its morphology resembles a traditional village, the cubic solid, and void that
are characteristics of an Indian urban fabric compared with the city such as Old Delhi.
About 80 % of the houses and apartments have access to pedestrian enclosures. The
interlocking courtyards are provided to accommodate different functions creating a
micro-climate free from dust and heat. The density of Asian games village is 15 units per
hector
Mayank Dubey | 123521050021 65

17. Joseph Allen Stein
Joseph Allen Stein began his career in India, at age 40, as the first Head of the Department
of Architecture at Bengal Engineering College, Howrah with a sense of purpose. He
undertook research with students in developing prototypes for urban and rural housing
demonstrated at the International Exhibition of Low-Cost Housing in New Delhi in 1954.
His township development in association with architect Benjamin Polk and engineer Benoy
Chatterjee for government housing in West Bengal and Orissa and for TISCO in Bihar, were
an attempt to balance Nehru’s ideal of an industrialized, modern India by providing workers
with dignified housing.
Stein created an oasis in Delhi where he shifted in 1955 to start practice, emphasizing the
importance of tangible harmony of buildings in nature. He brought grace in modern
architecture by the settings of nature in which he created them.
The series of major works for cultural, humanitarian, and environmental institutions Stein
designed in New Delhi maintain his continual striving towards a humble, refined form in a
garden setting, enriched materially by the adaptation of the traditional north Indian jali and
the inclusion of local building stone.
Stein was one of the first architects working in India after independence to use traditional
elements in a modern building. His development of the jali and several other shading
devices dramatically filter light and create a quality of repose in the spaces they shade
from the fierce north Indian sun.
Each of his projects in and around Delhi were conceived of in order to offer relief from the
intense climate and created a new urban grammar of form making. He integrated
buildings with the idea of vertical gardens - a prototype for bringing living beauty to
crowded urban settings.
Stein along with structural engineer Vishnu Joshi explored a variety of shell forms, significant
for their purity of form and inventive conservation of materials, as modestly scaled structures
integrated with the landscape.
Stein’s partnership with Doshi and long-time associate Jai Ratan Bhalla began in 1977, their
designs maintaining several points in common- a modest, harmonious sense of proportion;
an ongoing interest in the vault as a structural and architectural form; and an integration
of man-made constructions with their surroundings.
Stein personally focused on two environments for design he felt to be vital to the earth itself
and our human future- the regional environment of Central Asia’s Himalaya mountain
range threatened by deforestation and cultural disintegration, and a more conceptual
landscape he called ‘metapolis’ : “The entire earth, or at least its fertile portions, could be
a garden of paradise, with intensive agriculture in the irrigated lowlands, protected
wilderness in the highlands and well-engineered, pleasant new towns sheltering both
Mayank Dubey | 123521050021 66

industrial and agricultural workers on the less fertile lower slopes. In case of India, much of
the country has an ideal geomorphological structure for realizing such a pattern of total
landscape, in which there would be room for all, including the creatures of the wilderness”
Works
1. Himalayan Mountaineering Institute, Darjeeling, 1953

2. Urban and Rural Prototypes, New Delhi, 1954
3. Institute of Child Health, Calcutta, 1955
4. Durgapur Steel Township, West Bengal, 1955-59
5. Rourkela Steel Township, Orissa, 1955-59
01 Indian habitat center, New Delhi, India

 The complex is built on an area of 9 acres with a super built- up area of 97000 Sq. M. and
can be accessed through segregating vehicular and pedestrian movement. There are
5 main building blocks which are interconnected by means of aerial walkways serving
various functional spaces like office spaces, exhibition spaces, conference facilities,
cafeterias, etc.
 The convention block is divided into two built structures, an auditorium and the
convention center. This segregation helps in better handling of crowd and there is also
a separate entry to the convention center that avoids other disturbances. There is also
a basement floor for parking around 1000 cars.
 One of the best Auditoria in the country, the Auditorium at Habitat World is equipped
with state-of- the-art infrastructure enabling direct telecast, 35 mm projection. The hall is
ideal for large conferences, seminars, film screenings, presentations, theatre and cultural
performances of all kinds. Simultaneous interpretation can be made available on
request.
 The Theater-Amaltas, Kadamba, Rudraksha. This 'trinity' of rooms is an extremely flexible

set with individual as well as combined usage possibilities.  Ideal for workshops, board
meetings and theatre/cultural performances of all kinds when combined. Can be used
as three individual meeting rooms too.
 Segregation of pedestrian and vehicular entry with the use of level differences creates
a different approach to the complex. The height of the buildings are 30m. Connected
by aerial walkways. The entire façade is cladded with red bricks giving a majestic look
 Use of horizontal and vertical ribbon windows having slots in them for plantation purpose.
The building blocks being separated create interesting courtyards landscaped with
Mayank Dubey | 123521050021 67

stone sculptures and is green throughout. The courtyard being green, creates an image
of a tropical rainforest with a constant airy flow through the spaces.
 Sunlight Streams Into The Complex Creating Beautiful Patterns On The Textured Surface
With The Time Of The Day. The Spaces Are Quiet Except For The Sounds Of The Gurgling
Fountains That Relieves The Surroundings With The Heat. The Ventilation Shafts Are Well
Design Providing Sunlight To The Basement.
 Well Designed Drainage System Eliminates Use of Rainwater Pipes and adds To the
Beauty of the Structure. Use of shading devices reflect back 70% of the summer heat. It
is designed as a space frame structure with blue reflectors that can be aligned providing
shade during summer and allows winter sun to enter.
END OF SECTION B
Mayank Dubey | 123521050021 68

Modern and Post Modern Architecture

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Modern and Post Modern Architecture

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History of

1) Architectural elements, Stylistic features of Modern & Post-Modern

Modernist architecture, or modernism, is a style that emerged in the early-20th century

Principles and characteristics:

 Lack of ornament: Decorative mouldings and elaborate trim are eliminated or

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 Components positioned at 90-degrees to each other and an emphasis on horizontal

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Postmodern architecture is a style or movement which emerged in the 1960s as a

In practice, postmodern architecture moved away from the rigid formalities of

While postmodern buildings were meant to serve a function—as with modernism—

Postmodern buildings had curved forms, decorative elements, asymmetry, bright

Rejecting the "puritanism" of modernism, it called for a return to ornament, and an

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2) Architectural elements, Stylistic features of Modern & Post-Modern

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 Broad roof overhangs. Several modern homes emphasize low, horizontal

 Open and well-defined floorplans. Since modern architecture focuses on form

 Modern and traditional building materials. Some common materials in

 A relationship to the outside environment. A lot of thought when into building

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3) Characteristics and ideas of functionalism in Bauhaus

2. Simple Color Schemes.

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2. The artist is an exalted craftsman. In rare moments of inspiration, moments beyond

7. Emphasizes on technology. Bauhaus workshops were used for developing

8. Smart use of resources. Bauhaus ideology is characterized by the economic way of

9. Simplicity and Effectiveness. There is no need for additional ornamenting and

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4) Constructivism and Deconstructivism

Constructivist architecture, or ‘constructivism’, is a form of modern architecture that

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Deconstructivism is a movement of postmodern architecture which appeared in the 1980s.

The term Deconstructivism in contemporary architecture is opposed to the ordered

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The rise in prominence of computer-aided design (CAD) in contemporary architecture

The most notable examples of deconstructivism are:

 CCTV Headquarters, Beijing.

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5) Industrial Revolution and its influence on Architecture

Because the Industrial Revolution also saw advancement in technology and

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6) Cubism and its impact on Architecture

Cubism is an early-20th-century avant-garde art movement that revolutionized European

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It is considered to be a more structured and monochromatic approach than that of

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Architectural interest in Cubism centered on the dissolution and reconstitution of three-

The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde

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B. Architects and their Architecture

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01 Municipal library, Viipuri, Finland

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 In a modified display of modernist axioms, Aalto capitalizes on the resulting

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01. Hyogo Prefectural Museum of Art (2002)

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