Unit 3 - After Modernism Ii

Ar Tharangini K, HOCA, AMSAA
UNIT3
AFTER MODERNISM 2
1
UNIT III
AFTER MODERNISM II
Syllabus:
Urban ideas/works of Soleri, Archigram and

Metabolism.
High Tech architecture, works of Stirling, Rogers

and Piano.
Deconstructivism as new architectural movement.

Ideas and works of Eisenmann, Hadid, Gehry,
Libeskind, Tschumi.
2
Urbanism
 Urbanism is the study of the characteristic ways PRINCIPLES OF URBANISM
of interaction of inhabitants of towns and
cities (urban areas) with the built environment.
1.Walkability
 It is a direct component of disciplines such as 2.Connectivity
urban planning (the physical design and 3.Mixed-Use & Diversity
management of urban structures) and urban
4.Mixed Housing
sociology (the study of urban life and culture).
5.Quality Architecture & Urban Design
 However, in some contexts internationally 6.Traditional Neighborhood Structure
Urbanism is synonymous with Urban Planning, 7.Increased Density
and the Urbanist refers to an Urban Planner.
8.Green Transportation
 Many architects, planners, and sociologists 9.Sustainability
investigate the way people live in densely 10.Quality of Life
populated urban areas. There are a huge variety of
approaches within urbanism.
3
Paulo Soleri
 Paolo Soleri (21 June 1919 – 9 April 2013) was an Italian architect. He established the educational
Cosanti Foundation and Arcosanti.
 An urban and architectural planner.
 The non-profit foundation was intended to educate students about soleri’s research and ideology,
especially about arcologies (“Architecture” + ecology)
 Arcosanti (Arcology + cosanti foundation) is the physical realization of soleri’s ideas as well as a school for
future residents and arcologists
 Dr. and Mrs. Soleri made a life-long commitment to research and experimentation in urban planning ,
establishing the cosanti foundation, a non profit educational foundation.
 Soleri’s philosophy and works have been strongly influenced by the Jesuit priest, paleontologist and
philosopher Pierre.
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Paulo Soleri - Arcology
 Arcology , a portmanteau(fusion of 2 words) of ecology and
architecture , is a set of architectural design principles aimed
towards the design of enormous habitats (hyper structures) of
extremely high human population density.
 These largely hypothetical structures ,which are themselves
commonly referred to as “Arcologies”
• Would be self contained
• Contain variety of residential and commercial facilities
• Minimize the individual human environment impact
• economically self-sufficient.
 The concept appears commonly in science fiction.
 Arcology is paulo soleri’s concept of cities which embody the
fusion of architecture with ecology.
 The arcology concept proposes a highly integrated and compact
three dimensional urban form that is the opposite of urban sprawl
with its inherently wasteful consumption of land , energy and
time, tending to isolate people from each other and community.
 The complexification and miniaturization of the city enables
radical conservation of land ,energy and resources. 5
Paulo Soleri - Arcology
 An arcology would need about 2% as much land as a typical city of similar population.
 Today’s typical city devotes more than 60% of its land to roads and automobile services.
 Arcology eliminates the automobile from within the city.
 The multi- use nature of arcology design would put living, working and pubic spaces within easy reach of each
other and walking would be the main form of transportation within the city.
 An arcology’s direct proximity to uninhabitated wilderness would provide the city dweller with constant immediate
and low-impact access to rural space as well as allowing agriculture to be situated near the city , maximizing
the logistical efficiency of food distribution systems.
 Arcology would use passive solar architectural techniques.
 Green house architecture and garment architecture to reduce the energy usage of the city , especially in
terms of heating , lighting and cooling.
 Overall, arcology seeks to embody a “Lean Alternative” to hyper consumption and wastefulness through
more functional, efficient and intelligent city design.
 Arcology theory holds that this leanness is obtainable only via the miniaturization instrinsic to the urban effect,
the complex interaction between the diverse entities and organisms which mark healthy system both in the
natural world and in every successful and culturally significant city in history.
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Paulo Soleri - Concepts
 The foundation’s major project is Arcosanti, a planned
community for 5000 people designed by soleri, under
construction since 1970.
 Located near cordes junction , about 70 miles north of
phoenix and visible from interstate 1 – 17 in central
Arizona.
 The project is based on Soleri’s Concept “ARCOLOGY”,
Architecture coherent with ecology.
 An arcology is a hyper dense city designed to maximize
human interactions: maximize access to shared ,cost
effective infrastructural services like water and sewage:
minimize the use of energy ,raw material and land: reduce
waste and environmental pollution and allow interaction with
the surrounding natural environment.
 Arcosanti is the prototype of the desert arcology.
 Since 1970, over 6000 people have participated in
Arcosanti’s construction.
 Their international affiliation group is called the Arcosanti’s
Arcology network.
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 As of 2005 Arcosanti stands on estimated 3% completion.
Paulo Soleri – Mesa City
• The mesa city plans are generally regarded as precursors to
the idea of arcology, and contain the seeds of any of soleri’s later
ideas. On their own, the plans stand as a visually stunning
consideration of landscape, architectural design and large-
scale urban planning.
• Given the contemporary predilection for quick, cheap, and
easy construction, many architects who lavish such time and
expense on the design of a formal public facade often treat the
other elevations as merely secondary, with banal results.
• One would therefore expect to round the corner of the New
Building and see a glass curtain wall and perhaps a standard
parking ramp or loading dock.
• The trabeation of the News Building's temple front, however,
extends to the north and south facades.
• By giving a better rank to the south-facing entrance to the lower
level printing plant, too, with elegantly detailed steel canopies
and cast-iron rosettes.
• "The backs of modern buildings are always so grotesque," the
architect deplores. "Service areas should dignify the work
going on inside and around the building."
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ARCHIGRAM
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Archigram
 Archigram was an avant-garde architectural group formed in the 1960s - based at the Architectural
Association, London - that was neofuturistic and proconsumerist, drawing inspiration from technology in
order to create a new reality that was solely expressed through hypothetical projects.
 The main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael
Webb and David Greene.
 Designer Theo Crosby was the "hidden hand" behind the group.
 He gave them coverage in Architectural Design magazine (where he was an editor from 1953–62), brought
them to the attention of the Institute of Contemporary Arts (ICA) in London, where, in 1963, they mounted
an exhibition called Living Cities, and in 1964 brought them into the Taylor Woodrow Design Group, which he
headed, to take on experimental projects.
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Archigram
 The pamphlet Archigram I was printed in 1961 to proclaim their ideas.
 Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival
technology, the group experimented with modular technology, mobility through the environment, space
capsules and mass-consumer imagery.
 Their works offered a seductive vision of a glamorous future machine age; however, social and
environmental issues were left unaddressed.
Plug-in-City, Peter Cook, 1964

 Plug-in-City is a mega-structure with no buildings, just a massive framework into which dwellings in the form
of cells or standardized components could be slotted.
 The machine had taken over and people were the raw material is being processed, the difference being that
people are meant to enjoy the experience.
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Archigram - Projects Ar Tharangini K, HOCA, AMSAA
The Walking City, Ron Herron, 1964

 The Walking City is constituted by intelligent buildings or robots that
are in the form of giant, self-contained living pods that could roam the
cities.
 The form derived from a combination of insect and machine and was a
literal interpretation of le-Corbusier's aphorism of a house as a
machine for living in.
 The pods were independent, yet parasitic as they could 'plug into' way
stations to exchange occupants or replenish resources.
Instant City
 It is a mobile technological event that drifts into underdeveloped, drab towns via air (balloons) with provisional
structures (performance spaces) in tow.
The effect is a deliberate overstimulation to produce mass culture, with an embrace of advertising aesthetics.
The whole endeavor is intended to eventually move on leaving behind advanced technology hook-ups.
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Archigram Instant City Walking City

Plug in city
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METABOLISM
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Metabolism
 Metabolism was a post-war Japanese architectural
movement that fused ideas about architectural
mega structures with those of organic biological
growth.
 It had its first international exposure during CIAM's
1959 meeting and its ideas were tentatively tested
by students from Kenzo Tange's MIT studio.
 Tower-shaped City was a 300 meter tall tower that
housed the infrastructure for an entire city.
 It included transportation, services and a
manufacturing plant for prefabricated houses.
 The tower was vertical "artificial land" onto which
steel, prefabricated dwelling capsules could be
attached.
 Kikutake proposed that these capsules would undergo
self-renewal every fifty years and the city would grow
organically like branches of a tree.
 During the preparation for the 1960 Tōkyō World
Design Conference a group of young architects and
designers, including Kiyonori Kikutake, Kisho
Kurokawa and Fumihiko Maki prepared the 15
publication of the Metabolism manifesto. Nakagin Capsule Tower by Kisho Kurokawa
Metabolism
 They were influenced by a wide variety of sources including
Marxist theories and biological processes.
 Their manifesto was a series of four essays entitled: Ocean City,
Space City, Towards Group Form, and Material and Man, and it
also included designs for vast cities that floated on the oceans
and plug-in capsule towers that could incorporate organic growth.
 Although the World Design Conference gave the Metabolists
exposure on the international stage their ideas remained largely
theoretical.
 The Metabolism name Whilst discussing the organic nature of
Kikutake's theoretical Marine City project, Kawazoe used the
Japanese word shinchintaisha as being symbolic of the essential
exchange of materials and energy between organisms and the
exterior world (literally metabolism in a biological sense.)
 The Japanese meaning of the word has a feeling of replacement of
the old with the new and the group further interpreted this to be
equivalent to the continuous renewal and organic growth of the
city. Marine City project
 As the conference was to be a world conference, Kawazoe felt that
they should use a more universal word and Kikutake looked up the
definition of shinchintaisha in his Japanese-English dictionary.
 The translation he found was the word Metabolism. 16
HIGH TECH
ARCHITECTURE
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High Tech Architecture
• High tech architecture also known as Structural Expressionism, is a type of Late
Modern architectural style that emerged in the 1970s, incorporating elements of high-
tech industry and technology into building design.
 High tech architecture lies between modernism and postmodernism.
 More difficult to distinguish from post-modern architecture.
 High tech architecture aimed to give everything in a industrial appearance.
 Buildings in this architectural style were constructed mainly in North America and
Europe.
 Like Brutalism, Structural Expressionist buildings reveal their structure on the
outside as well as the inside, but with visual emphasis placed on the internal
steel and/or concrete skeletal structure as opposed to exterior concrete walls.
Visual Emphasis MATERIALS
• internal steel  Steel or other metal and glass
• concrete skeletal structure  use of "structural" steel in a stylistic or aesthetic matter
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Bruce graham's Willis tower
High Tech Architecture - Characters

 All have accentuated technical elements.
 Prominent display of the building's technical and
functional components, and an orderly arrangement
and use of pre-fabricated elements.
 The Ventilation are shown on the outside.
 The high-tech buildings make persistent use of glass
curtain walls and steel structure.
 Bruce graham's Willis tower demonstrates that with glass

walls and skeleton pipe structure of steel, a very tall
building can be built.
 the term "high-tech" is also defined as one being used in
architectural circles to describe an increasing number of
residences and public buildings with a "nuts-and-bolts,
exposed-pipes, technological look".
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High Tech Architecture - Characters Norman Foster and Richard Rogers

 Many high-tech buildings meant their purposes to be
 High Tech is the style of
dynamic.
architecture practiced by Richard
What to look for in a High Tech building: Rogers and Norman Foster.
1. Steel and glass  Rogers drape pipes and ducts all
2. Flexible interiors over the facades of his buildings.
 Foster exposes service ducts, and
3. Expressed construction
certainly not on the outside of the
4. Colour used for pipework and services building.
5. Lightweight materials
LE CORBUSIER
“High Tech buildings do look like machines”
Machines are usually mass-produced, either mobile or portable, and
made of synthetic materials such as metal, glass, and plastic
These characteristics have become the reference points of High
Tech architecture:
 Windows, doors, curtain wall mullions, raised floors and
 suspended ceilings are mass-produced to standard patterns in
factories 20
Lloyd’s Building, London
RICHARD
ROGERS
21
Richard Rogers
• Richard George Rogers (born 23 July 1933) is a British architect.
• Noted for his modernist and functionalist designs in high tech architecture.
• Rogers is perhaps best known for his work on the pompoidu centre in Paris.
• He is a winner of the RIBA Gold Medal, the Thomas Jefferson Medal, the RIBA
Stirling Prize, the Minerva Medal and Pritzker Prize.
• He is a Senior Partner at Rogers Stirk Harbour + Partners, previously known as the
Richard Rogers Partnership.
Philosophies:
• British architect Richard Rogers has been described as the last humanist, in recognition
of his determination to create public spaces that encompass the diversity and complexity
of the contemporary world.
• He uses new materials and innovative techniques to build structures that are lightweight,
transparent and environmentally friendly.
• His buildings create a dramatic interplay of light and shadow and are simple to
understand and use.
• Rogers is also a brilliant urban planner with a rare understanding of the needs of the
modern and future city. This and his consideration of ecological issues when designing and
planning have led to an ever-expanding sequence of sensitive yet beautiful buildings in
major urban environments around the world.
• Helped create and define the style we now know as high-tech modernism, while 22
maintaining a sense of the human and environmental elements in architecture
Richard Rogers
Works: Works:
• National Assembly Wales • Pompidou Center
• Millennium Dome, London • Lloyd’s Building, London
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NATIONAL ASSEMBLY FOR WALES, Wales (1999-2005) by Richard Rogers

This building on the water's edge at Cardiff Bay,
creates a modern agora - a continuous public realm
which steps up across the entire length of the site.
This allows the public to observe the workings of the
Welsh Assembly, while ensuring segregation and
security as well as meeting the highest standards of
accessibility and energy efficiency.
The raised ground floor - which sits beneath a floating
roof - is separated from the outside spaces by a light
glass wall.
The most visible feature of the building is the funnel
over the debating chamber itself, which is open to public
view.
Support services and committee rooms are set into the
slate-clad plinth, enabling a segregation of public and
private functions.
Virtually all areas of the building are naturally
ventilated.
A six metre high , purpose built rotating wind crawl
provides ventilation to the debating chamber.
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NATIONAL ASSEMBLY FOR WALES, Wales (1999-2005)
public viewing
gallery
interior view
showing the
various levels
within as well as
the timber clad
roof.
looking towards
the main entrance
from the
waterfront.
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NATIONAL ASSEMBLY FOR WALES, Wales (1999-2005) by Richard Rogers

Air conditioning has been eliminated from all offices
and functional areas.
A biomass boiler provides heating, while water usage
environmental
is minimised by harvesting rainwater. strategy used in
Its unique design is eye-catching. It reflects the local the debating
environment through the design and use of the materials chamber
such as the finest steel which was brought from
south Wales along with the stones that were from
the far north of Wales.
In fact, this hi-tech building has more sustainable
features to offer - one of which is collecting rain water
via the two steel pipes at the front of the building which
section showing natural lighting stratergy.
then channelled to a large tank and processed through
an ultra-violet filter ready to be re-used in the public
conveniences.
The windows are made from reinforced and
insulated glass, open and close automatically,
maintaining a constant temperature in the building.
This minimizes the use of air conditioning during the
summer and helps the building retain heat in the winter.
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NATIONAL ASSEMBLY FOR WALES, Wales

 The relationship between the two levels of the
building, the Ground floor and the first floor, is
very strong since the locations of the vertical
elements, stairs and lifts, are well placed within the
reception area, allowing the movement to flow easily.
This feature also allows high level of visibility
inside the building.
 The National Assembly for Wales is dominated by the
oversailing timber-clad roof. The roof is beautifully
striated with wood boarding and swells up into steep
forms not dissimilar to traditional Kent outhouses.
These forms allow the spaces below to rise up and
provide welcome drama. At the corners of the
cantilevered roof the canopy flips up at the corners in
a delicate and sensual way.
 The café with the tables and chairs that are
surrounding the upper floor are another motive of
making this building more attractive. This also
coupled with the panoramic view to Cardiff bay which
makes this building special.
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POMPIDOU
CENTER
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Pompidou Centre (high tech architecture) by Richard Rogers and Renzo Piano
 The Pompidou Centre in Paris was an early
example of High Tech architecture designed by
Richard Rogers and Renzo Piano.
 It had a Different attitude to technology from

conventional Modernism.
 To maximize internal space, they turned the

construction inside-out and exposed a
skeleton of brightly colored tubes for
mechanical systems.
 But in addition to all this, the Pompidou Centre,

with its official name being the Centre Nationale
d’Art et de Culture Georges Pompidou, it also
has some great panoramic views over the Paris
rooftops from the upper floors and the cafe
terrace, which can be reached via the diagonal
escalators that pass through the entire
facade in a zig-zag style. 29
"Pompidou proves that modernity and tradition can profitably interact and enhance historic cities."
 The substructure consists of a concrete basement, 60,000 sq m in area.
 It houses support facilities, a 600 seat multi-purpose hall, a small cinema, central reception and parking
for 700 cars.
 The Super structure houses a museum of modern art, reference library, industrial design centre, temporary
exhibition space, children’s library and art centre, audio- visual research centre (IRCAM) and restaurants.
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•The east-side façade, facing the piazza is a circulation zone, with a full-
width run of escalators and walkways enclosed in transparent tubes.
• Each storey is 7m high and column-free.
• The 'ground' or Forum level is 10.5m in height.
• The large slightly sloped paved piazza in front of the building fulfills the
role of introducing the high-tech structure of the building to its traditional
surroundings and Paris street life.
• The building is rectangular in plan and occupies half the area of the site
— the other half is a public piazza.
Evolving “spatial diagram" in two parts:

•3-level infrastructure housing the technical facilities and service areas.
•A vast 7-level glass and steel superstructure, including a terrace and
mezzanine floor, concentrating most of the centre's areas of activity.
• The building's metal framework has 14 porticos with 13 bays.
• Each spanning 48 m and 15,000 tonnes of steel were used in the
construction.
• On top of the posts, on each level, are moulded steel beam hangers,
measuring 8m in length and weighing 10 tonnes.
• The posts are balanced by tie-beams anchored on cross-bars 32
 The ducts on the outside of the building are colour-coded
blue for air,
green for fluids,
yellow for electricity cables and
red for movement and flow (elevators, stairs) and safety (fire extinguishers).
 The principle of its design is to provide as much open flexible space in the interior as possible.
 To that end, most of the structure, circulation and servicing is pushed to the exterior, largely on the long
elevations.
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 The cantilevered beams act as levers and are pinned to the columns.
 The ties consist of vertical 200mm solid forged steel bars and are
connected to an underground prestressed concrete wall.
 Structural system: Steel superstructure with reinforced concrete floors.
 functional elements: pipes, service stacks, lifts and escalators – are
exposed on the outside in a multicolored celebration of technology
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 The combination of a suspended beam and a short propped cantilever
is known as the gerberette solution, and Centre Pompidou's short
beams are referred to as gerberettes.
 Then comes the moulded steel members that are 8 metres long, and
known as stirrup straps they are fixed to the posts at each level.
 Then the 45 metre long beams rest on these stirrup straps, which
means they can transfer the load to the posts and these are balanced by
tie beams that are anchored into place with stay plates.
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Renzo Piano
36
Renzo Piano
1937 – Born in Genoa, Italy. Into a family of builders.
1964 – Graduated from Politecnico di Milano (Milan Polytechnic) University, and

began working with experimental lightweight structures and basic shelters.
1965 to 1970 - He worked in the offices of Louis Kahn in Philadelphia and Z. S.

Makowsky in London
1971 to 1977 – Worked with Richard Rogers. Famous project – The Centre
Georges Pompidou.
1977 to 1981 -had a long collaboration with the engineer Peter Rice, with whom
he shared a practice (L'Atelier Piano and Rice).
1981 – Founded the Renzo Piano Building Workshop, employing a hundred

people with offices in Paris, Genoa and New York.
1994- Renzo Piano won the international competition for the new Auditorium in
Rome.
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2008 - He became an honorary citizen of Sarajevo, Bosnia and Herzegovina.
Renzo Piano - Ideology/Concept

•He believes that architecture should
not be a socially isolated practice but
one that coexists with other
disciplines such as science,
technology, sociology, and
anthropology.
•Piano established technology as a

starting point for his designs.
•He modified his attempts to generate

an architectural character based on
technological forms with a concern for
user comfort and needs.
38
Renzo Piano –
The Shard
39
Renzo Piano – The Shard

•The Shard, also known as the London Bridge Tower, is a 72-storey, mixed-use tower located
beside London Bridge Station on the south bank of the River Thames.
•This project was a response to the urban vision of London Mayor Ken Livingstone and to his
policy of encouraging high-density development at key transport nodes in London.
•This sort of sustainable urban extension relies on the proximity of public transportation,
discourages car use and helps to reduce traffic congestion in the city.
40
•A mix of uses – residential, offices and retail –
creates a building that is in use 24 hours a day.
•The slender and pyramidal form of the tower

was determined by its suitability to this mix:
large floor plates at the bottom for offices;
restaurants, public spaces and a hotel located in
the middle; private apartments at the top of the
building.
• The final floors accommodate a public viewing

gallery, 240 m above street level. This
arrangement of functions also allows the tower
to taper off and disappear into the sky - a
particularly important detail for Renzo Piano.
41

•Structure
42

•Eight sloping glass facades, the “shards” define the shape and visual quality
of the tower, fragmenting the scale of the building and reflecting the light in
unpredictable ways.
•Opening vents in the gaps or “fractures” between the shards, provide natural
ventilation to winter gardens.
•The extra-white glass used on the Shard gives the tower a lightness and a
sensitivity to the changing sky around it, the Shard’s colour and mood are
constantly changing.
• It required a particular technical solution to ensure the facade’s performance in

terms of controlling light and heat. A double-skin, naturally ventilated facade
with internal blinds that respond automatically to changes in light levels
was developed.
• As part of the project, a section of London Bridge Station’s concourse was also
redeveloped and the Shard has been the stimulus for much of the regeneration
of the surrounding area, now known as the London Bridge Quarter
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James Sterling
44
James Stirling
British architect and Pritzker Laureate Sir James Stirling (22 April
1926 – 25 June 1992) grew up in Liverpool, one of the two industrial
powerhouses of the British North West, and began his career
subverting the compositional and theoretical ideas behind
the Modern Movement.
Citing a wide-range of influences—from Colin Rowe, a forefather

of Contextualism, to Le Corbusier, and from architects of the
Italian Renaissance to the Russian Constructivist movement—
Stirling forged a unique set of architectural beliefs that manifest
themselves in his works. Indeed his architecture, commonly
described as "nonconformist," consistently caused annoyance in
conventional circles.
According to Rowan Moore, Stirling also "designed some of the

most notoriously malfunctioning buildings of modern times."
Yet, for all the "veiled accusations of incompetence," as Reyner
Banham put it, Stirling produced a selection of the world's most
interesting and groundbreaking buildings. Notably, the Royal
Institute of British Architects' highest award, the Stirling Prize,
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was named after him in 1996
James Stirling - Career and Design Philosophies
• Started with International style (1950s)-small scale houses and housing complexes all built with traditional
bricks and traditional English forms of warehouses, factories, barns etc.
• Modern-functional, austere(no ornamentation) and with volumes defined by clean spaces and lines.
• But these were very humane in scale and style.
• Communal vitality and integration in terms of space and circulation.
• “Architecture is not a question of style or appearance, it is how you organize spaces and movement for
a place and activity”.
• He was one of the earliest architects to use technology and new materials in architecture, but he always
believed that the humanistic approach has to be given more importance.
• The use of color was a characteristic of Stirling, who saw architecture as an expression of art, not merely of
social planning and engineering.
• Stirling signature was mullioned glass, colored building materials (including green window frames,
purple and turquoise moldings, and pink railings against yellow stucco and Portland stone), and simple
geometric forms and apparently random fenestration punched and cut into the building.
• During the 1970s, the architectural signature of Stirling began to change as the scale of his projects moved
from small and not very profitable to very large, as Stirling's architecture became more overtly neoclassical,
though it remained deeply imbued with his powerful revised modernism. This produced a wave of dramatically
46
spare, large-scale urban projects.
James Stirling –
No 1 Poultry Building, London
•With its distinctive stripped facade, rounded clock
tower and colourful courtyard, No 1 Poultry
was James Stirling's last completed building.
•Built on a wedge-shaped site in the heart of the

City of London, No 1 Poultry contains shops at
ground and basement levels, with five floors of
offices, and a roof garden and restaurant above.
•The building's ship-like prow and clock tower with

projecting balconies dominate the junction at
Bank Underground Station. Its exterior is clad in
stripes of pink and yellow limestone, and its two
long facades are characterised by the layering of
angular and curved forms.
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James Stirling – No 1 Poultry Building, London

•The building's height, symmetrical plan and divided facade
matches the surrounding buildings.
•Stirling planned it around a longitudinal axis with two

similar facades. These are divided horizontally in three and
vertically into five, with the layers alternating between
angled and curved forms.
•Both facades have a central wedge-shaped entrance that

gives access to the central rotunda, with two arcades on
either side.
•No 1 Poultry's clock tower, with its horn-like projecting

balconies, also mimics nearby structures, as well as
referencing Greek and Roman rostral columns, which were
erected to celebrate naval victories.
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James Stirling –
No 1 Poultry Building, London
•He modified his attempts to generate an

architectural character based on
technological forms with a concern for user
comfort and needs.
•"Amongst its sombre neighbours, No 1

Poultry is ambiguous in both demanding
acceptance but wanting to retain its
uniqueness, with its puzzling yet unified
facade, its bright colouring and Egyptian
entry corridor," said Geoffrey H Baker in his
book The Architecture of James Stirling and
his Partners.
•Despite Stirling's impressive reputation, the

building was not widely appreciated when it
was completed – it seemed the heyday of
Postmodernism had passed. 49
James Stirling – No 1 Poultry Building, London
Section
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Queen Victoria Street elevation Roof Plan
James Stirling – Neue Staatsgalerie

In 1977, as part of a city wide planning initiative, the Prime
Minister of Baden, held a private international competition to design
the Neue Staatsgalerie that would revitalize and reinvigorate the
cultural influence in Stuttgart, Germany.
The competition posed the issues of making a connection to the

older Staatsgalerie that dated back to 1843, as well as
traversing the sites dramatic slope. By 1979, the jury
unanimously chose a design by James Stirling of Michael Wilford &
Associates in London.
Completed in 1984, Stirling’s design incorporated the sloping site

as part of an architectural promenade that moved the public
walkway through the museum that embodied the transitions of the
classical art of the Alte Staatsgalerie and the modern art of the
Neue Staatsgalerie into one seamless architectural response.
Stirling’s design stemmed from the idea to combine the traditional

design elements of Classical 19th Century museums with
modern, complimentary industrial materials that would ultimately
51
evoke the timeless, yet ever-evolving essence of art & architecture.


The museum is a series of integrations, both contextual with the
site and periods of art and design.
Stirling combines materials of the past, travertine and sandstone,

with colored industrial steel throughout the museum as a way in
which to pay respect to the art and design of the 19th Century by
developing a relationship with modern materials resulting in a
uniquely Post Modern museum that is rooted in the combination of
historical elements with a modern vocabulary.
The site's slope was another issue that for Stirling was more of an
opportunity than an imposition. The dramatically sloping site offered
an opportunity to filter people down the site and through the
museum connecting the public with the cultural institution.
Despite the incorporation of more modern elements juxtaposed to

the classical materials, the design of the museum is reminiscent of
the neoclassical style of the Alte Staatsgalerie. Similar to the older
gallery, Stirling incorporated the strict "U" shaped arrangement of
the gallery spaces to give the Neue Staatsgalerie a traditional
53
organization with a modern aesthetic.

Throughout the museum, both on the interior and exterior, Stirling
implemented a series of colors as functional identifiers that remain
consistent throughout the building.
The main entrance has a blue colored steel trellis that attaches
to the travertine walls, and bright pink and blue steel pipes are
used to denote where circulation occurs. This is especially the
case on the public walkway that cuts through the building while
traversing the sloping site.
The most prominent area of the museum is the central atrium at the
center of the museum that bridges the sculpture garden and works in
the museum with the public walkway that cuts through the museum.
The atrium also happens to be the one place in the museum that
makes the most references to the traditional 19th Century museum
designs; there are columns, gables, architraves, and designed
stone facings that interact with the public walkway that wraps
around the circular atrium. For Stirling, the public walkway was a
moment when architecture transforms into an architectural landscape
54
that traverses the sloping site and flows throughout the building.
Deconstructivism
55
Deconstructivism
•Deconstructivism in architecture, also called deconstruction, is a
development of postmodern architecture that began in the late 1980s.
•It is characterized by ideas of fragmentation, an interest in manipulating
ideas of a structure's surface or skin, non-rectilinear shapes which
serve to distort and dislocate some of the elements of architecture,
such as structure and envelope.
•Influences-
•Originally, some of the architects known as Deconstructivists were
influenced by the ideas of the French philosopher Jacques Derrida.
Deconstructivism should be considered an extension of his interest in
radical formalism.
•Some practitioners of deconstructivism were also influenced by the formal
experimentation and geometric imbalances of Russian constructivism.
•There are additional references in deconstructivism to 20th-century
Imperial War Museum North in
movements: the modernism/postmodernism interplay, expressionism, Manchester comprises three
cubism, minimalism and contemporary art. The attempt in deconstructivism apparently intersecting curved
throughout is to move architecture away from what its practitioners see as volumes.
the constricting 'rules' of modernism such as "form follows function," "purity
of form," and "truth to materials."
56
Seattle Central Library
Deconstructivism
•Deconstructivism in contemporary architecture stands in opposition to the
ordered rationality of Modernism. Its relationship with Postmodernism is also
decidedly contrary. Though postmodernist and nascent deconstructivist
architects published theories alongside each other in the journal Oppositions
(published 1973–84), that journal's contents mark the beginning of a decisive
break between the two movements.
•Robert Venturi's Complexity and Contradiction in architecture (1966). A defining

point for both postmodernism and for deconstructivism, Complexity and
Contradiction argues against the purity, clarity and simplicity of modernism.
•The deconstructivist reading of Complexity and Contradiction is quite different.

The basic building was the subject of problematics and intricacies in
deconstructivism, with no detachment for ornament.
•Rather than separating ornament and function, like postmodernists such as

Venturi, the functional aspects of buildings were called into question. Geometry
was to deconstructivists what ornament was to postmodernists, the subject
of complication, and this complication of geometry was in turn, applied to the
functional, structural, and spatial aspects of deconstructivist buildings. Vitra Design Museum by 57
Frank Gehry
Zaha Hadid
58
• She was born on October 31, 1950 in
Zaha Hadid Baghdad, Iraq.
• Studied Mathematics at the American
University of Beirut.
• London (UK) Association of Architecture
where she graduated with honors.
• Her style is Deconstructivism.
• She used light volumes, sharp, Angular
forms, the play of light, painting, graphic
arts, three-dimensional models and
computer design.
• Integration of the buildings with the
landscape.
Works:
59
Zaha Hadid – MAXXI, Rome,Italy

• The MAXXI is located in the Flaminio quarter of Rome, in the area of the former Montello military barracks.
• The complex houses two institutions: MAXXI Arte and MAXXI Architecture, aiming to promote art and
architecture through collection, conservation, study and exhibition of contemporary works.
• Designed as a true multi-disciplinary and multi-purpose campus of the arts and culture, the MAXXI creates an
urban complex for the city that can be enjoyed by all.
• In addition to the two museums the MAXXI includes an auditorium, library and media library, bookshop and
cafeteria, spaces for temporary exhibitions, outdoor spaces, live events and commercial activities,
laboratories, and places for study and leisure.
60

• MAXXI Architecture is Italy’s first national
museum solely dedicated to contemporary
arts.
• Out of 273 candidates, Hadid won the architectural

competition to design the building in 1998.
• It is a flexible space with interdisciplinary arena

for the exhibition of contemporary art and
architecture and for live events.
• Concepts - gravity-defying, fragmentary,

revolutionary
• a main theme of hadid's designs exhibits that a

building can float and defy gravity.
• The curving walls, the variations and intersections

of the levels determine a very rich spatial and
functional configuration that visitors may pass
through via ever different and unexpected routes. 61

• As declared by the architect, the museum is
'not a object-container, but rather a campus
for art', where flows and pathways overlap
and connect in order to create a dynamic and
interactive space.
• Although the program is clear and organized

in plan, flexibility of use is the main goal of
the project. Continuity of spaces makes it a
suitable place for any kind of moving and
temporary exhibition, without redundant wall
divisions or interruptions. Entering the atrium,
the main elements of the project are evident:
concrete curved walls, suspended black
staircases, open ceiling catching natural light.
• By these elements Zaha Hadid intended 'a

new fluid kind of spatiality of multiple
perspective points and fragmented geometry,
designed to embody the chaotic fluidity of
modern life'.
62

• Site Context
• This statement of the architect, as usual of
hers, brought out the question if the concept
of de-constructed fluidity matched with the
identity of a “static” city as Rome, and with its
classical heritage.
• The response of critics and public has been
positive. Especially in this context, in the
relation with the existing fabrics, the curved
smooth walls dialogue with the neo-classical
symmetrical facades.
• The new organism includes in its developing
the front- side building, by clean and blind
surfaces at the side, thus declaring the
feasibility and the need of coexistence.
• The museum is well inserted in the urban
block situation, taking from it its guidelines,
and opening its cut-end wings as panoramic
viewpoints.
• The museum participates actively to the
location – Rome, and its first outskirt, not a
part of the old centre, but still central. 63
64
65

•Architectural Concept
•The concept behind the design by Zaha Hadid Architects was to create a
fluid building, dropping the traditional articulation in separate, secluded,
rooms typical of many old and modern museums, as well as the rigid
distinction between interior and external space – an idea which somehow
recalls Frank Lloyd Wright’s design for the Guggenheim museum in New
York.
•The second, decisive design concept was the imposition of a strong,

rigorous formalism: the formalism of striation involving parallel lines that
bend, branch, bundle or intersect.
•These lines were later interpreted as walls, beams, and ribs, as well as
staircases and lighting strips.
•The formalism gained particular functional significance by taking the

essential functional substance of the museum - the wall, everywhere
understood as potential exhibition/display surface – as the fundamental
space-making substance of the project.
66

•The design is thus constituted via the “irrigation” of the site with
exhibition walls.
•The walls run mostly parallel.
•The curves that mediate the change of urban direction are taken
as opportunities to change the spacing between walls, or as
opportunities to intersect walls, while maintaining the condition of
parallel flow, as well as tangential branching and confluence.
•The play of parallel walls, augmented by branching and

intersecting wall trajectories, produces both interior and exterior
spaces.
•The walls are not always grounded, but the play of walls
operates on three primary levels.
•This implies that some of the walls operate as long spanning

beams, or as far- reaching cantilevers
67

• The fluid and sinuous shapes, the variety and interweaving of spaces and the modulated use of natural light
lead to a spatial and functional framework of great complexity, offering constantly changing and unexpected
views from within the building and outdoor spaces.
• The building is a composition of bending oblong tubes, overlapping, intersecting and piling over each other,
resembling a piece of massive transport infrastructure. It acts as a tie between the geometrical elements
already present.
• Materials such as glass (roof), steel (stairs) and cement (walls) give the exhibition spaces a neutral
appearance, whilst mobile panels enable curatorial flexibility and variety.
• Two principle architectural elements characterize the project:
• The concrete walls that define the exhibition galleries and determine the interweaving of volumes; And
the transparent roof that modulates natural light.
•The roofing system complies with the highest standards required for museums and is composed of integrated
frames and louvers with devices for filtering sunlight, artificial light and environmental control.
68

•Particular attention has been
given to the natural lighting, by
the thin concrete beams on the
ceiling, together with glass
covering and filtering systems.
•The same beams have a bottom

rail from which art pieces are
going to be suspended.
•The beams, the staircases and

the linear lighting system guide
the visitors through the interior
walkway, which ends in the large
space on third level.
•From here, a large window

offers a view back to the city,
though obstructed by a massive
core.
69
70
Zaha Hadid – Heyder Aliyev Center
• Zaha Hadid Architects was appointed

as design architects of the Heydar
Aliyev Center following a competition
in 2007.
• The Center, designed to become the
primary building for the nation’s cultural
programs, breaks from the rigid and often
monumental Soviet architecture that is so
prevalent in Baku, Azerbaijan, aspiring
instead to express the sensibilities of Azeri
culture and the optimism of a nation that
looks to the future.
• The design of the Heydar Aliyev Center
establishes a continuous, fluid
relationship between its surrounding
plaza and the building’s interior.
71

•The plaza, as the ground surface; accessible to all as part of Baku’s urban fabric, rises to envelop an equally
public interior space and define a sequence of event spaces dedicated to the collective celebration of
contemporary and traditional Azeri culture.
•Elaborate formations such as undulations, bifurcations, folds, and inflections modify this plaza surface
into an architectural landscape that performs a multitude of functions: welcoming, embracing, and
directing visitors through different levels of the interior.
•With this gesture, the building blurs the conventional differentiation between architectural object and urban
landscape, building envelope and urban plaza, figure and ground, interior and exterior.
•Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely
terraced landscape that establishes alternative connections and routes between public plaza, building,
and underground parking.
72
73
74
75
76
• This solution avoids additional excavation and

landfill, and successfully converts an initial
disadvantage of the site into a key design feature.
Geometry, structure, materiality
• One of the most critical yet challenging elements of the project was the
architectural development of the building’s skin.
• The ambition to achieve a surface so continuous that it appears homogenous,
required a broad range of different functions, construction logics and
technical systems had to be brought together and integrated into the building’s
envelope.
• Advanced computing allowed for the continuous control and communication

of these complexities among the numerous project participants.
• The Heydar Aliyev Center principally consists of two collaborating systems: a

concrete structure combined with a space frame system.
• In order to achieve large-scale column-free spaces that allow the visitor to experience the fluidity of the
interior, vertical structural elements are absorbed by the envelope and curtain wall system.
77

• The particular surface geometry fosters

unconventional structural solutions, such as the
introduction of curved ‘boot columns’ to achieve
the inverse peel of the surface from the ground
to the West of the building, and the ‘dovetail’
tapering of the cantilever beams that support
the building envelope to the East of the site.
• Glass Fibre Reinforced Concrete (GFRC)

and Glass Fibre Reinforced Polyester
(GFRP) were chosen as ideal cladding
materials, as they allow for the powerful
plasticity of the building’s design while
responding to very different functional
demands related to a variety of situations:
plaza, transitional zones and envelope
78

•The lighting design strategy differentiates the day and
night reading of the building.
•During the day, the building’s volume reflects light,
constantly altering the Center’s appearance according to
the time of day and viewing perspective.
•The use of semi-reflective glass gives tantalizing
glimpses within, arousing curiosity without revealing the
fluid trajectory of spaces inside.
•At night, this character is gradually transformed by means
of lighting that washes from the interior onto the exterior
surfaces, unfolding the formal composition to reveal its
content and maintaining the fluidity between interior and
exterior.
•By employing these articulate relationships, the design is
embedded within this context; unfolding the future
cultural possibilities for the nation.
79
Frank O Gehry
80
Frank O Gehry
• Born on February 28th 1929 in Ontario Canada
• In 1947 he moved to Los Angeles, California.
• He received a bachelor’s degree in architecture from University of
Southern California.
• He has been a professor at Columbia University, Yale, Rhode Island School of
Design.
• In 2011 he went back to University of Southern California as a professor
of architecture.
• Drawn to the social issues, architecture is the panacea for cities futures.
HIS PROCESS
• “For me it's a free association, but it grows out of a sense of responsibility, • He starts with scribble
sense of values, human values. sketches.
• The importance of relating to the community, and all of those things...and the • Then builds a rough
client's budget, their pocketbook, the client's wishes”. model out of thick
Works: paper.
• Assistance take
pictures to load to
the computer.
• Computer programs
provide the math and
physics to make it
81
stand.
Frank O Gehry - The Guggenheim Museum

The Guggenheim Bilbao opened to the public in 1997.
•The reception to Gehry’s unorthodox design was nothing less than ecstatic,
drawing international acclaim from fellow architects and critics, as well as from
tourists who throng here from throughout the world
• A road and railway line is to the south, the river to the north, and the
concrete structure of the Salve Bridge to the east.
• The museum notably houses "large-scale, site-specific works and installations

by contemporary artists“.
• The building alludes landscapes, such as the narrow passageway to the main
entrance hall reminiscent of a gorge, or the curved walkway and water
features in response to the Nervión River.
• Constructed of titanium, limestone, and glass, the seemingly random curves of
the exterior are designed to catch the light and react to the sun and the
weather.
• Because of their mathematical intricacy, the twisting curves were designed using
a 3-D design software called CATIA, which allows for complex designs and
calculations that would not have been possible a few years ago.
• The large, light-filled atrium serves as the organizing center of the
museum, distributing 11,000 square meters of exhibition space over 82
nineteen galleries.

• Program: Galleries, library, auditorium, offices,
services (cafeteria, restaurant, bookshop).
• The central atrium (above) serves as a circulation
hub and orientation gallery, providing access to
approximately 20 galleries on three levels.
• While the sequence of “classic” galleries are
predictably rectangular, other exhibition spaces
have surprising shapes, with angled or curving
walls and occasional balconies. Particularly
memorable is the so-called “boat gallery.”
• Though Gehry compares the shape to a fish (a
reoccurring motif in his work), this enormous
column-free space (above) extends more than 400
feet along the river- front promenade and beneath
the adjoining bridge.
• When the Guggenheim Museum Bilbao opened to
the public in 1997, it was immediately hailed as
one of the world's most spectacular buildings in the
style of Deconstructivism.
83

• Program: Galleries, library, auditorium, offices, services (cafeteria, restaurant, bookshop).
• The central atrium (above) serves as a circulation hub and orientation gallery, providing access to
approximately 20 galleries on three levels.
• The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the
museum.
• The curves on the exterior of the building were intended to appear random; the architect said that "the
randomness of the curves are designed to catch the light".
84

• While the sequence of “classic” galleries are
predictably rectangular, other exhibition spaces
have surprising shapes, with angled or curving
walls and occasional balconies. Particularly
memorable is the so-called “boat gallery.”
• Though Gehry compares the shape to a fish (a
reoccurring motif in his work), this enormous
column-free space (above) extends more than 400
feet along the river- front promenade and beneath
the adjoining bridge.
• When the Guggenheim Museum Bilbao opened to
the public in 1997, it was immediately hailed as
one of the world's most spectacular buildings in the
style of Deconstructivism.
• The atrium, which Gehry nicknamed The Flower
because of its shape, serves as the organizing
center of the museum.
• The curves on the exterior of the building were
intended to appear random; the architect said that
"the randomness of the curves are designed to
catch the light".
85
Frank O Gehry - Walt Disney Concert Hall

• In 1987, Lilian Disney donated $50 million to establish a
concert hall in honor of her late husband, Walt.
• Frank Gehry was selected from among several
candidates during a design competition the following
year.
• His proposal was largely oriented toward the public, with

much of the site allocated to open gardens
• The concert hall was designed as a single volume, with

orchestra and audience occupying the same space.
• Curvilinear planes of Douglas fir provide the only partitions,
delineating portions of the 2,265 member audience without
creating visual obstructions.
• The steel roof structure spans the entire space,

eliminating the need for interior columns.
• The organ stands at the front of the hall, a bouquet of 6,134

curved pipes extending nearly to the ceiling.
• Gehry worked with Yasuhisa Toyota, the acoustical
consultant, to hone the hall’s sound through spatial and 86
material means.
Frank O Gehry - - Walt Disney Concert Hall
87
Frank O Gehry - Walt Disney Concert Hall
• To test the acoustics, they used a 1:10 scale model

of the auditorium, complete with a model occupant in
each seat.
• This required all elements to be scaled accordingly,
including increasing the frequency of sound in the
space to reduce the wavelength by a factor of ten.
• The concert hall's partitions and curved, billowing

ceiling act as part of the acoustical system while
subtly referencing the sculptural language of the
exterior.
• The design developed through paper models and

sketches, characteristic of Gehry's process.
• The custom curvature demanded a highly specific steel

structure, including box columns tilted forward at 17º on
the building’s north side. Visitors can glimpse the steel
frame through a skylight in the pre-concert room and
view the supporting structure from a stairway leading to
the garden.
• The reflective, stainless steel surface engages light as an
architectural medium 88

• The building was initially set to be clad in stone, but a more
malleable material was chosen following the completion of the
Guggenheim Museum Bilbao, the concert hall's titanium-clad
cousin.
• Thin metal panels allowed for more adventurous curvature and

could be structurally disassociated from the ground.
• The metallic forms appear to hover above an asymmetrical band

of glazing at the building’s base.
• Glass fissures in the facade bring light into the lobby and pre-
concert room, reading as a grand entryway through the otherwise
opaque facade.
• new subway is scheduled to run 125 feet beneath the lowest level
of the concert hall, and may disrupt the acoustics of the
internationally recognized performance space.
• formal discrepancy between the box-like volume that contains the

hall itself and the fluid configurations of lobby spaces and exterior
forms.
• Fragmentation is taking different volumes and shapes or pieces
of volumes and shapes and putting them together in 89
unrecognizable fashions.
90

Interior:
 The idea behind the interior of the Walt Disney Concert

Hall is that there is “a box and on either side of the box
you have toilets and stairs with a foyer” (Frank Gehry on
Architecture of the Disney Concert Hall).
 To make up these spaces there are a variety of shapes
that Gehry cleverly crammed together. The circular
spaces run into the rectangular wooden pieces to create
interest no matter where a person looks.
Exterior:
 The iconic shapes known to the Walt Disney Concert

Hall display Gehry’s use of metaphor in this building.
 The metal peaks are reconstructed sail like shapes that
are put together to form an entirely new shape that is
chaotic and calm at the same time.
 Gehry’s work is commonly known for having a fish

metaphor throughout and even though this is not the
main metaphor
91
92
Peter Eisenmann
93
Peter Eisenmann
BIOGRAPHY
▪ American architect, theorist, writer and teacher.
▪ He graduated from Cornell University, NY (B.Arch 1955), and worked for Percival Goodman.
• Later went to Columbia University and the University of Cambridge, where he completed his PhD in the
THEORY OF DESIGN (1963) and also taught (1960-63).
▪ He was involved in several unexecuted competition entries and projects (1963-5) with Michael
Graves and began to teach.
▪ He became the founding director of the Institute for Architecture and Urban Studies, New York, which
became a major centre for exhibition and debate in the architectural profession;
▪ He also established and edited its influential journal Oppositions (1973-82), to which he contributed
many writings.
EARLY CAREER
▪ He returned to the United States in 1963 to practice from an office in New York City and to teach as an
assistant professor in the School of Architecture at Princeton University.
▪ In 1964 he was a founding member of CASE (Conference of Architects for the Study of the Environment)
and in 1967 he founded and served as the director of the IAUS (Institute for Architecture and Urban Studies).
•The critical issues of the time were those revolving around the nature of the modern city and housing. In
1967 in collaboration with Michael Graves and Daniel Perry, proposed an urban mega structure for the
renewal of Harlem.
94
Peter Eisenmann
DECONSTRUCTIVE PHILOSOPHY
▪ The main channel from deconstructivist philosophy to architectural theory was
through the philosopher Jacques Derrida's influence.
▪ He drew some philosophical bases from the literary movement
Deconstruction, and collaborated directly with Derrida on projects.
▪ Both Derrida and Eisenman, as well as Daniel Libeskind were concerned with
the "metaphysics of presence," and which is the main subject of
deconstructivist philosophy in architecture theory.
▪ Architecture is a language capable of communicating meaning and of
receiving treatments by methods of linguistic philosophy.
▪ The dialectic of presence and absence, or solid and void occurs in much of
Eisenman's projects, both built and unbuilt.
•Both Derrida and Eisenman believe that the locus, or place of presence, is
architecture, and the same dialectic of presence and absence is found in
construction and deconstruction.
• His later work sprang from an even more complex set of theoretical origins.
95
Works: Ar Tharangini K, HOCA, AMSAA
Peter Eisenmann
DECONSTRUCTIVE PHILOSOPHY
• In a project for the Biology Center for J.W. Goethe University in Frankfurt, Germany, he proposed a scheme
derived from the structure of a DNA molecule interpolated through fractal geometry.
• In Deconstruction Eisenman was seeking a new basis for architecture.
• Instead he proposed three destabilizing concepts to guide his architecture: discontinuity, recursibility,
and self-similarity.
CARDBOARD ARCHITECTURE
• In 1967 - had begun the first of a series of residential designs, labeled cardboard architecture in
reference to their thin white walls and model-like qualities, through which he explored the implications of
his theories in built form.
•Eisenmann’s building evolution involved – Architecture, syntax and new subjectivity.
• Through deep structure which he attempted to explore the notion of visual syntax.
• The complex nature of this work stemmed from Eisenman's interest in language and semiotics, gained
through his study of noted linguist/philosopher Noam Chomsky.
96
Peter Eisenmann
CONCEPTS
▪ His designs consisted, in essence, of a floor plan ordered by a grid
of lines and a structural framework of thin round columns.
▪ These were projected in three dimensions as a cubical spatial

volume on which and throughout were placed a series of layered
planes.
▪ In early designs these planes were placed perpendicular to each

other within the cube; in later designs some planes were dislocated
by rotational shifts in the plane grid and overlaid on the original grids.
•He tries to ‘unlink’ the function that architecture may represent from
the appearance – form – of that same architectural object.
•Eisenman's writings and designs represent an effort to liberate form

from meaning.
•Among his most critical works are House VI, the Wexner Center for
the Arts, the Memorial to the Murdered Jews of Europe and the City
97
of Culture of Galicia.
Peter Eisenmann – Wexner Center

Location : Ohio State University,Ohio
Building Type : University arts center.
Construction System : steel, concrete, glass.
•Eisenman incorporated both old and new theories into its

design, bringing issues of the diagram as generator, the grid,
trace, and dispersal with him from past projects to bring about
a displacement, but also considering new aspects such as
context and program.
▪ Its multidisciplinary programs encompass performing arts,
exhibitions, and media arts (film/video), a film and video post
production studio, a bookstore, café, and 12,000 square feet
(1,100 m²) of galleries. and have focused on cutting-edge
culture from around the globe.
▪ The Wexner Center was the first major public building
designed by architect PETER EISENMAN.
•To reflect the history of the site, the building incorporated
large brick tower structures inspired by the Armory building, a
castle-like structure that had burnt down on the location in 98
1958.

▪ The design also includes a large white metal grid meant to
suggest scaffolding, to give the building a sense of
incompleteness in tune with the architect's deconstructivist
tastes.
▪ Eisenman also took note of the mismatched street grids of
the OSU campus and the city of Columbus, and designed
the Wexner Center to alternate which grids it followed.
•To the south of the south façade of Wexner, a small and
informal amphitheater opens with a built terrace-platform much
like ancient Greek theaters were carved from hillsides to face an
approaching audience.
▪ The original skylight of the Wexner Center developed leaks
and allowed in too much sunlight that could potentially damage
art works.
▪ Failed to fix the problems and its eventually covered the
skylight with membrane and translucent plastic film on the
curtain wall glass unit.
99

•A large part of Eisenman’s
design is set underground which
works well for about 60% of the
internal visual arts program.
Other parts of the site which
include raised landscaped
platforms divided by sunken
walkways that rise and fall.
100
Peter Eisenmann – The City of Culture

• The City of Culture is a new cultural center
for the Province of Galicia in northwestern
Spain.
• The street plan of the medieval center of
Santiago is overlaid on a topographic map
of the hillside site, which overlooks the city.
• The six buildings of the project are : The
Museum of Galician History ,The New
Technologies center, The Music Theater,
Central Services building, The Galician
Library and Periodicals Archive.
• So far the Library and Archive are the
only pieces of the City completed and open
to the public.
•The caminos, or pedestrian streets,
between the buildings also open onto a
public plaza, which is bordered by the six
buildings and features landscape and water 101
elements.
102
• The photo shows a grid overlaid onto the

curving and Central Services Building,
extending up the exterior wall of the
Museum in the background, as if the
abstract grid is a trace that exists regardless
of the building's form.
•Added complexity and confusion comes
with the articulation of the ceiling through
angled cuts and lighting, the treatment of
the walls and columns with projections, and
the various colors and grids in the paving.
All is capped by a skylight and suspended
grid with artificial lighting.
103

• Archives and Library
104
Daniel Libeskind
105
Daniel Libeskind
•His Architecture uses
a language of skewed
angles, intersecting
geometries, shards,
voids and punctuated
lines to communicate
feelings of loss,
absence and memories
while addressing the
immediate situation,
however typical in a
manner that constantly
calls attention to itself.
•He has mainly
designed museums
and galleries.
106
Daniel Libeskind – Jewish Museum, Berlin

•The addition to the Jewish Museum Berlin, completed in
1999, “exhibits the social, political and cultural history of
the Jews in Germany from the 4th century to the present”.
•Libeskind himself states the three main idea which
formed the foundation of the museum:
“First, the impossibility of understanding the history of
Berlin without understanding the enormous intellectual,
economic, and cultural contribution made by its Jewish
citizens; second the necessity to integrate the meaning of
the Holocaust, both physically and spiritually, into the
consciousness and memory of the city of Berlin; third, that
only through acknowledging and incorporating these
meaning and void of Berlin’s Jewish life can the history of
Berlin and Europe have a human future” (Quoted in
Libeskind & Goldberger, 2008).
•“During the design process, the architect Daniel Libeskind
plotted the addresses of prominent Jewish and German
citizens on a map of pre-war Berlin and joined the points to
form an “irrational and invisible matrix” on which he based
the language of form, the geometry and shape of the 107
building”

•Concept -
•The building’s overall composition is that of a distorted Star of David,
with a straight “void” running through the length of the building.
•Heavy with symbolism and metaphor, the building uses fragmentation,
void, and disorientation to reflect the three aforementioned aspects of
Jewish history.
108
109

•Exterior-
•The most obvious element of the building’s exterior is the fragmented Star of David
from which the plan is derived.
•This is combined with the contrast of the straight line of the void, which can be seen from above in the form of
roof elements. Libeskind states, “One is a straight line, but broken into many fragments, the other is a tortuous
line, but continuing indefinitely”.
110

•Exterior-
•The theme of fragmentation can be seen in the overall “tortuous” lines
of the plan, but also in the window placement.
•Libeskind plotted the addresses of Jewish citizens on a pre-war map of
Berlin and used the matrices to determine the form of the windows—a
less obvious but no less powerful metaphor.
•The theme can also be seen in the lack of right angles or symmetry in
almost any part of the building.
•While the voids of the interior cannot be seen as clearly from the
exterior, the fragmented form still creates voids within its own form.
•Additionally, there is an extra void building which serves as a Holocaust
memorial and stands completely empty, which Libeskind describes as a
“voided void”.
•The theme of disorientation is also less clear at the exterior level, but
the general lack of hierarchical structures or a clear path to or from the
addition adds to the theme.
•The contrast between the old baroque structure and the newer addition
may also leave visitors confused. 111

•Interior-
•The main metaphor of the interior of the museum is the void metaphor.
•Libeskind states that the straight line void cutting through the museum “is the space of Berlin, because it refers
to that which can never be exhibited when it comes to Jewish Berlin history. Humanity reduced to ashes”.
•The space is organized in such an unavoidable way that “visitors must cross one of the 60 bridges that open
onto this void”.
•In addition to the void, the fragmentation of the building is clear in the jagged windows and beams crisscrossing
above the display spaces.
112

•Interior-
•The other main metaphor of the building’s interior is the split entry route, where visitors are faced with choices
mirroring the choices of Jews during the Holocaust:
“The descent leads to three underground axial routes, each of which tells a different story. The first, and longest,
traces a path leading to the Stair of Continuity, then up to and through the exhibition spaces of the museum,
emphasizing the continuum of history. The second leads out of the building and into the Garden of Exile and
Emigration, remembering those who were forced to leave Berlin. The third leads to a dead end — the Holocaust
Void.”
113
114

•Garden of Exile –
•First and foremost, the garden, which visitors
move through as they exit the museum,
“represents an attempt to completely disorient
the visitor. It represents a shipwreck of history”.
•Libeskind achieves this disorientation by tilting
the floor. This is especially effective considering
the garden appears to be the only structure in the
museum to be composed on a grid system of
right angles.
•Additionally, the vegetation is placed on top of
the structural elements, leaving the earth “remote
inside concrete columns, roots above, hard
ground below, and vegetation intertwined above
– out of reach”.
•This will also serve to disorient a visitor, whose
usual conception of a garden features plants
rooted in the ground. 115
116
BERNARDTSCHUMI
117
•THEORY: Ar Tharangini K, HOCA, AMSAA
BERNARD TSCHUMI
•1960s-1970s
•Throughout his career as an architect, theorist, and
LIFE HISTORY: academic, Tschumi‘s work has re-evaluated architecture's
role in the practice of personal and political freedom.
Bernard Tschumi (born January 25, 1944) is •Since the 1970s, Tschumi has argued that there is no
an architect, writer, and educator, commonly fixed relationship between architectural form and the
associated with de-constructivism. events that take place within it.
•Son of the well-known architect Jean Tschumi. •In Tschumi's theory, architecture's role is not to express
•He studied in Paris and at ETH in Zurich, where an extant social structure, but to function as a tool for
he received his degree in architecture in 1969. questioning that structure and revising it.
Tschumi has taught at •1980s-90s

•Portsmouth Polytechnic in Portsmouth, UK, •Tschumi's winning entry for the 1982 Parc de la
•the Architectural Association in London, Villette Competition in Paris became his first major public
•the Institute for Architecture and Urban work and made possible an implementation of the design
Studies in New York, research and theory which had been rehearsed in The
•Princeton University, the Cooper Union in New Manhattan Transcripts and The
York Screenplays. Landscaping, spatial and programmatic
•And Columbia University where he was Dean of sequences in the park were used to produce sites of
the Graduate alternative social practice that challenged the expected
School of Architecture, Planning and use values usually reinforced by a large urban park in
118
Preservation from 1988 to 2003. Paris.
BERNARD TSCHUMI - Parc de la Villette
As part of an international competition, 1982-83, to
revitalize the abandoned and undeveloped land from the
French national wholesale meat market and
slaughterhouse in Paris, France, Bernard Tschumi was
chosen from over 470 entries including that of OMA/Rem
Koolhaas, Zaha Hadid, and Jean Nouvel.
Unlike other entries in the competition, Tschumi did not

design the park in a traditional mindset where landscape
and nature are the predominant forces behind the design
. Rather he envisioned Parc de la Villette as a place of
culture where natural and artificial are forced together
into a state of constant reconfiguration and discovery.
The brief called for the imagining and design of an

urban park for the 21st Century across the 135 acre site
that was divided by the Canal de l’Ourcq. With over 470
proposals for what would become the largest park
in Paris, the design that was chosen was closest to the
idea of the 21st Century, which did not dwell or rely upon
history as precedent, but rather looked into the
119
contemporary issues as well as the future.
For Tschumi, Parc de la Villette was not meant to be a
picturesque park reminiscent of centuries past; it was more of an
open expanse that was meant to be explored and discovered by
those that visited the site. Tschumi, wanted the park to be a space
for activity and interaction that would evoke a sense of freedom
within a superimposed organization that would give the visitors
points of reference.
As part of Tschumi’s overall goal to induce exploration,

movement, and interaction, he scattered 10 themed gardens
throughout the large expansive site that people would stumble
upon either quite literally or ambiguously. Each themed garden
gives the visitors a chance to relax, meditate, and even play.
Parc de la Villette is designed with three principles of

organization which Tschumi classifies as points, lines, and
surfaces. The 135 acre site is organized spatially through a grid
of 35 points, or what Tschumi calls follies. The series of follies
give a dimensional and organizational quality to the park serving
as points of reference. The repetitive nature of each folly, even
though each one is unique and different, allow for the visitors to 120
retain a sense of place through the large park.
121
Tschumi’s lines are essentially the main demarcated movement
paths across the park. Unlike the follies, the paths do not follow any
organizational structure; rather they intersect and lead to various
points of interest within the park and the surrounding urban area.
Of the 135 acres, 85 acres are dedicated to the green space,
which are categorized as surfaces. The large open green spaces
give Parisians space to interact, play, relax, and gather. The open
space is typically used for large gatherings and even in the summer it
becomes a large open air cinema.
Even though most traditional picturesque parks are unprogrammed

and usually mean for user definition and interpretation, there is
usually still some semblance of desired activity. However, Tschumi’s
Parc de la Villette is conceptualized as one large user-defined space
that is completely open for interpretation. Each of the
deconstructivist follies are centers for informal program.
Although each folly is unique and formally different, there is no

designated program just a space that can harbor activity. It’s only
until recently that some of the follies have been converted into 122
restaurants, offices, and information centers for the park.
Parc de la Villette is often
criticized as being too large being
designed without consideration for
the scale of a human, and argued
to be exist within a vacuum as it
does not take the history of the site
or the surrounding context into
consideration.
Only when a visitor stumbles

along a folly or a garden is the
scale reduced and the visitor is
able to reorient themselves within
the larger context.
As with the Tschumi’s Manhattan

Transcripts (1976-1981), Parc de la
Villette seems to be a critical
manifestation of urban life and
activity where space, event, and
movement all converge into a 123
larger system.
BERNARD TSCHUMI - New Acropolis Museum
Located in the historic of Makryianni district, the Museum stands
less than 1,000 feet southeast of the Parthenon. The top-floor
Parthenon Gallery offers a 360-degree panoramic view of the
Acropolis and modern Athens. The Museum is entered from the
pedestrian street, which links it to the Acropolis and other key
archeological sites in Athens.
Program
With 8,000 square meters (90,000 square feet) of exhibition
space and a full range of visitor amenities, the Acropolis Museum
tells the story of life on the Athenian Acropolis and its
surroundings by uniting collections formerly dispersed in multiple
institutions, including the small Acropolis Museum built in the 19th
century.
The rich collections provide visitors with a comprehensive

picture of the human presence on the Acropolis, from pre-historic
times through late antiquity. Integral to this program is the display
of an archeological excavation on the site: ruins from the 4th
through 7th centuries A.D., left intact and protected beneath the
building and made visible through the first floor. Other program 124
facilities include a 200-seat auditorium.
Principal Design Features
Designed with spare horizontal lines and utmost simplicity, the
Museum is deliberately non-monumental, focusing the visitor’s
attention on extraordinary works of art. With the greatest possible
clarity, the design translates programmatic requirements into
architecture.
Light: The collection consists primarily of works of sculpture, many of

them architectural pieces that originally decorated the monuments of
the Acropolis, so the building that exhibits them is a museum of
ambient natural light. The use of various types of glass allows light to
flood into the top-floor Parthenon Gallery, to filter through skylights into
the archaic galleries, and to penetrate the core of the building, gently
touching the archeological excavation below the building.
Circulation: The collection is installed in chronological sequence,

from pre-history through the late Roman period, but reaches its high
point (literally and programmatically) with the Parthenon Frieze. The
visitor’s route is therefore a clear, three-dimensional loop. It goes up
from the lobby via escalator to the double-height galleries for the
Archaic period; upward again by escalator to the Parthenon Gallery;
then back down to the Roman Empire galleries and out toward the 125
Acropolis itself
The base hovers over the excavation on more
than 100 slender concrete pillars. This level contains
the lobby, temporary exhibition spaces, museum
store, and support facilities.
The middle (which is trapezoidal in plan) is a

double-height space that soars to 10 meters (33
feet), accommodating the galleries from the Archaic
to the late Roman period. A mezzanine features a
bar and restaurant (with a public terrace looking out
toward the Acropolis) and multimedia space.
The top is the rectangular, glass-enclosed, skylit

Parthenon Gallery, over 7 meters high and with a
floor space of over 2,050 square meters (22,100
square ft). It is shifted 23 degrees from the rest of
the building to orient it directly toward the Acropolis.
Here the building’s concrete core, which penetrates
upward through all levels, becomes the surface on
which the marble sculptures of the Parthenon Frieze
are mounted. The core allows natural light to pass 126
down to the Caryatids on the level below.

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Ar Tharangini K, HOCA, AMSAA

Urban ideas/works of Soleri, Archigram and

High Tech architecture, works of Stirling, Rogers

Deconstructivism as new architectural movement.

Plug-in-City, Peter Cook, 1964

The Walking City, Ron Herron, 1964

Archigram Instant City Walking City

High Tech Architecture - Characters

 Bruce graham's Willis tower demonstrates that with glass

High Tech Architecture - Characters Norman Foster and Richard Rogers

• Millennium Dome, London • Lloyd’s Building, London

NATIONAL ASSEMBLY FOR WALES, Wales (1999-2005) by Richard Rogers

NATIONAL ASSEMBLY FOR WALES, Wales (1999-2005)

NATIONAL ASSEMBLY FOR WALES, Wales (1999-2005) by Richard Rogers

NATIONAL ASSEMBLY FOR WALES, Wales

 It had a Different attitude to technology from

 To maximize internal space, they turned the

 But in addition to all this, the Pompidou Centre,

Evolving “spatial diagram" in two parts:

1964 – Graduated from Politecnico di Milano (Milan Polytechnic) University, and

1965 to 1970 - He worked in the offices of Louis Kahn in Philadelphia and Z. S.

1981 – Founded the Renzo Piano Building Workshop, employing a hundred

Renzo Piano - Ideology/Concept

•Piano established technology as a

•He modified his attempts to generate

Renzo Piano – The Shard

•The slender and pyramidal form of the tower

• The final floors accommodate a public viewing

Renzo Piano – The Shard

Renzo Piano – The Shard

• It required a particular technical solution to ensure the facade’s performance in

Citing a wide-range of influences—from Colin Rowe, a forefather

According to Rowan Moore, Stirling also "designed some of the

James Stirling - Career and Design Philosophies

•Built on a wedge-shaped site in the heart of the

•The building's ship-like prow and clock tower with

James Stirling – No 1 Poultry Building, London

•Stirling planned it around a longitudinal axis with two

•Both facades have a central wedge-shaped entrance that

•No 1 Poultry's clock tower, with its horn-like projecting

•He modified his attempts to generate an

•"Amongst its sombre neighbours, No 1

•Despite Stirling's impressive reputation, the

James Stirling – No 1 Poultry Building, London

James Stirling – Neue Staatsgalerie

The competition posed the issues of making a connection to the

Completed in 1984, Stirling’s design incorporated the sloping site

Stirling’s design stemmed from the idea to combine the traditional

James Stirling – Neue Staatsgalerie

James Stirling – Neue Staatsgalerie

Stirling combines materials of the past, travertine and sandstone,

Despite the incorporation of more modern elements juxtaposed to

James Stirling – Neue Staatsgalerie

•Robert Venturi's Complexity and Contradiction in architecture (1966). A defining

•The deconstructivist reading of Complexity and Contradiction is quite different.

•Rather than separating ornament and function, like postmodernists such as

Zaha Hadid – MAXXI, Rome,Italy

Zaha Hadid – MAXXI, Rome,Italy