Module 1

Renaissance: The Renaissance is a period in Europe, from the 14th to the 17th
century, considered the bridge between the middle Ages and modern history. It started
as a cultural movement in Italy in the Late Medieval period and later spread to the rest
of Europe, marking the beginning of the Early Modern Age.
Renaissance Architecture:
 Renaissance architecture is the architecture of the period between the early
15th and early 17th centuries in different regions of Europe, demonstrating a
conscious revival and development of certain elements of ancient
Greek and Roman thought and material culture.
 Renaissance architecture followed Gothic architecture and was succeeded
by Baroque architecture. Developed first in Florence, with Filippo Brunelleschi as
one of its innovators.
 The style was carried to France, Germany, England, Russia and other parts of
Europe at different dates and with varying degrees of impact.
 Renaissance style places emphasis on symmetry, proportion, geometry and the
regularity of parts as they are demonstrated in the architecture of classical
antiquity and in particular ancient Roman architecture.
 Orderly arrangements of columns, pilasters and lintels, as well as the use of
semicircular arches, hemispherical domes, niches and aedicule replaced the
more complex proportional systems and irregular profiles of medieval buildings.
Mannerism: Mannerism encompasses a variety of approaches influenced by, and
reacting to, the harmonious ideals associated with artists such as Leonardo da
Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes
proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, often
resulting in compositions that are asymmetrical or unnaturally elegant. Mannerism is
notable for its artificial qualities. Mannerism favors compositional tension and instability
rather than the balance.
The Holy Trinity:
 The Holy Trinity is a fresco by the Early Italian Renaissance painter Masaccio. It
is located in the Dominican church of Santa Maria Novella, in Florence.
 Trinity is noteworthy for its inspiration taken from ancient Roman triumphal
arches and the strict adherence to recently developed perspective techniques
 The fresco had a transforming effect on generations of Florentine painters and
visiting artists. The sole figure without a fully realized three-dimensional
occupation of space is the majestic God supporting the Cross, considered an
immeasurable being.
 The kneeling patrons represent another important novelty, occupying the viewer's
own space, "in front of" the picture plane, which is represented by the Ionic
 columns and the Corinthian pilasters from which the feigned vault appears to
spring; they are depicted in the traditional prayerful pose of donor portraits, but
on the same scale as the central figures, rather than the more usual
'diminuation', and with noteworthy attention to realism and volume.

Church of Milan:
 Milan Cathedral is the cathedral church of Milan, Italy dedicated to St Mary of
the Nativity. The Gothic cathedral took nearly six centuries to complete. It is
the 5th-largest church in the world and the second largest in Italy.
 The plan consists of a nave with four side-aisles, crossed by a transept and then
followed by choir and apse. The height of the nave is about 45 meters, the
highest Gothic vaults of a complete church.
 The roof is open to tourists which allows many a close-up view of some
spectacular sculpture that would otherwise be unappreciated. The roof of the
cathedral is renowned for the forest of openwork pinnacles and spires, set upon
delicate flying buttresses.
 The cathedral's five broad naves, divided by 40 pillars, are reflected in the
hierarchic openings of the façade. Even the transepts have aisles.
Palace of Versailles:
 The Palace of Versailles, or simply Versailles is a royal château in Versailles It
is also known as the château de Versailles.
 The court of Versailles was the center of political power in France from 1682,
when Louis XIV moved from Paris, until the royal family was forced to return to
the capital in October 1789 after the beginning of the French Revolution.
Versailles is therefore famous not only as a building, but as a symbol of the
system of absolute monarchy of the Ancien Régime. This structure consists of:
 State Apartments
 King's Apartment
 King's Private Apartment
 Queen's Private Apartment
 Chapels of Versailles
 Royal Opera
 Museum of the History of France

Industrial revolution: The Industrial Revolution was the transition to new

manufacturing processes in the period from about 1760 to sometime between 1820 and
1840 occurred mainly due to the overgrowing populations and some political effects.
  This transition included going from hand production methods to machines, new
chemical manufacturing and iron production processes, improved efficiency
of water power, the increasing use of steam power, the development of machine
tools and the rise of the factory system.

 Textiles – Mechanized cotton spinning powered by steam or water greatly

increased the output of a worker. The power loom and the cotton gin increased
productivity.
 Steam power – The efficiency of steam engines increased and the adaptation of
stationary steam engines to rotary motion made them suitable for industrial uses.
 Iron making – The substitution of coke for charcoal greatly lowered the fuel cost
for pig iron and wrought iron production. Using coke also allowed larger blast
furnaces, resulting in economies of scale.
 Where people lived in crude shanties and shacks, some not completely
enclosed, some with dirt floors. These shantytowns had narrow walkways
between irregularly shaped lots and dwellings. There were no sanitary facilities.
 Population density was extremely high. Eight to ten unrelated mill workers often
shared a room, often with no furniture, and slept on a pile of straw or sawdust.
Toilet facilities were shared if they existed. Disease spread through a
contaminated water supply.
 Tuberculosis lung diseases from the mines, cholera from polluted water and
typhoid were also common. Not everyone lived in such poor conditions. The
Industrial Revolution also created a middle class of professionals, such as
lawyers and doctors, who lived in much better conditions.
 Conditions improved over the course of the 19th century due to new public health
acts regulating things such as sewage, hygiene and home construction.

Advent of Steel:
 Beginning in the 18th century the Industrial Revolution made fundamental
changes in agriculture, manufacturing, transportation and housing. Architecture
changed in response to the new industrial landscape. The weight of a multistory
building had to be supported principally by the strength of its walls.
 Forged iron and milled steel began to replace wood, brick and stone as primary
materials for large buildings.
 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 or other matrices to increase tensile strength in
foundations, columns and vertical slabs.
 By assembling a framework of steel girders, architects and builders could
suddenly create tall, slender buildings with a strong steel skeleton. The rest of
the building's elements - the walls, floors, ceilings, and windows were suspended
from the load-bearing steel. This new way of constructing buildings is
called column-frame construction.
 The steel weight-bearing frame allowed not just for taller buildings, but much
larger windows, which meant more daylight reaching interior spaces. Interior
walls became thinner creating more usable floor space.
Henry Labrouste:
 Henri Labrouste (1801-1875) has long been recognized as one of the most
important architects of 19th century. He studied from École Royale des Beaux-
Arts in 1819.He went on to win the Grand Prix de Rome itself in 1824 with his
design for a Court of Appeals building.
 Labrouste moved away from the Romantic school which dominated architectural
thought in the 1830s, instead running his own workshop and instructing students
in the use of new materials, building’s function, and in the art of combining
minimalism with an appreciation for classical ornament.
 Labrouste took part in the design of many constructions and buildings, from
hotels to tombs and monuments. However it is undoubtedly for his two
spectacular reading rooms in Paris that Labrouste is most often recognized,
namely the Sainte-Geneviève Library and what is now known as the Salle
Labrouste in the Nationale de France Library.
 The innovations of these constructions exist in Labrouste’s use of iron, an
industrial material whose potential for both elegance and functionality is
exemplified in these libraries.
Sainte-Geneviève Library:
 Sixteen iron columns running down the center of the room divide this vast interior
into two barrel-vaulted naves
 Attention remains on the room’s primary purpose of learning and study.
 Remaining focused upon creating an intellectual and stimulating atmosphere,
Labrouste also incorporated gas lighting into the building.
 Through such innovations, the Sainte-Geneviève seems to embody Labrouste’s
belief that functionality, when built with artistry, is the most expressive and
beneficial form of decoration.
Great Exhibition London:
 The Great Exhibition of the Works of Industry of all Nations or The Great
Exhibition, sometimes referred to as the Crystal Palace Exhibition held
in Hyde Park, London, from 1 May to 11 October 1851.
 It was the first in a series of World's Fair exhibitions of culture and industry that
became popular in the 19th century and was a much anticipated event.
 The Great Exhibition was organized by Henry Cole and Prince Albert, husband of
the reigning monarch, Queen Victoria.
 It was attended by numerous notable figures of the time, including Charles
Darwin, Samuel Colt, members of the Orléanist Royal Family and the
writers Charlotte Brontë, Charles Dickens, Lewis Carroll, George Eliot and Alfred
Tennyson.
 A special building, nicknamed The Crystal Palace was built to house the show. It
was designed by Joseph Paxton with support from structural engineer Charles
Fox.
 The building was architecturally adventurous, drawing on Paxton's experience
designing greenhouses. It took the form of a massive glass house, 1851 feet long
by 454 feet wide and was constructed from cast iron-frame components
and glass.
 From the interior, the building's large size was emphasized with trees and
statues. This served, not only to add beauty to the spectacle, but also to
demonstrate man's triumph over nature.
  The building was later moved and re-erected in an enlarged form at Sydenham in
south London, an area that was renamed Crystal Palace. It was destroyed by fire
on 30 November 1936.

International Exposition Paris (1867):

 The International Exposition of 1867, called "Exposition universelle “was
the second world's fair to be held in Paris, from 1 April to 3 November 1867.
Forty two nations were represented at the fair.
 The site chosen for the Exposition Universelle of 1867 was the Champ de Mars,
the great military parade ground of Paris, which covered an area of 119 acres
and to which was added the island of Billancourt, of 52 acres.
 The principal building was rectangular in shape with rounded ends, having a
length of 1608 feet and a width of 1247 feet and in the center was a pavilion
surmounted by a dome and surrounded by a garden, with a gallery built
completely around it.
 In addition to the main building, there were nearly 100 smaller buildings on the
grounds. There were 50,226 exhibitors, of whom 15,055 were from France and
her colonies, 6176 from Great Britain and Ireland, 703 from the United
States and a small contingent from Canada.
 In the "gallery of Labour History" Jacques Boucher de Perthes, exposes one of
the first prehistoric tools whose authenticity has been recognized with the
accuracy of these theories. The exhibition also included two prototypes of the
much acclaimed and prize-winning hydrochronometer invented in 1867 by Gian
Battista Embriaco, professor at the College of St. Thomas in Rome.
 The exposition was formally opened on 1 April and closed on 31 October 1867,
and was visited by 9,238,967 persons, including exhibitors and employees. This
exposition was the greatest up to its time of all international expositions, both
with respect to its extent and to the scope of its plan.
Great Exhibition Paris or Exposition Universelle (1878):
 The third Paris World's Fair, called an Exposition Universelle in French, was
held from 1 May through to 10 November 1878. It celebrated the recovery
of France after the 1870–71 Franco-Prussian War.
 This exposition was on a far larger scale than any previously held anywhere in
the world. It covered over 66 acres (270,000 m2), the main building in the Champ
de Mars and the hill of Chaillot, occupying 54 acres (220,000 m2).
  The exhibition of fine arts and new machinery was on a very large and
comprehensive scale, and the Avenue des Nations, a street 730 meters in
length, was devoted to examples of the domestic architecture of nearly every
country in Europe and several in Asia, Africa and America.
 The "Gallery of Machines" was an industrial showcase of low transverse arches,
designed by the engineer Henri de Dion (1828–78). Many of the buildings and
statues were made of staff, a low-cost temporary building material invented in
Paris in 1876, which consisted of jute fiber, plaster of Paris, and cement.

Among the many inventions on display was Alexander Graham Bell's telephone.
Electric arc lighting had been installed all along the Avenue de l'Opera and the
Place de l'Opera, and in June, a switch was thrown and the area was lit by
electric Yablochkov arc lamps, powered by Zénobe Gramme dynamos. Thomas
Edison had on display a megaphone and phonograph.
Great Exhibition Paris or Exposition Universelle (1889):

 It was held during the year of the 100th anniversary of the storming of the
Bastille, an event considered symbolic of the beginning of the French Revolution.
The fair included a reconstruction of the Bastille and its surrounding
neighborhood, but with the interior courtyard covered with a blue ceiling
decorated with fleur-de-lys and used as a ball room and gathering place.
 The 1889 Exposition covered a total area of 0.96 km2. It was claimed that the
railway carried 6,342,446 visitors in just six months of operation.
 The main symbol of the Fair was the Eiffel Tower, which served as the entrance
arch to the Fair.
 The exhibition will be famous for four distinctive features. In the first place, for its
buildings, especially the Eiffel tower and the Machinery Hall; in the second place,
for its Colonial Exhibition, which for the first time brings vividly to the appreciation
of the Frenchmen that they are masters of lands beyond the sea; thirdly, it will be
remembered for its great collection of war material.

Eiffel Tower:
  Alexandre Gustave (1832 –1923) was a French civil engineer and architect. A
graduate of the prestigious École Centrale des Arts ET manufactures of. He is
best known for the world-famous Eiffel Tower, built for the 1889 Universal
Exposition in Paris, and his contribution to building the Statue of Liberty in New
York after his retirement from engineering, Eiffel concentrated his energy on
research into meteorology and aerodynamics, making important contributions in
both fields.
 The Eiffel Tower is a wrought iron tower on the Champ de Mars in Paris,
France. It is named after the engineer Gustave Eiffel. Constructed in 1889 as the
entrance to the 1889 World's Fair, it was initially criticized by some of France's
leading artists and intellectuals for its design, but has become a global cultural
icon of France The tower is the tallest structure in Paris.
 The tower is 324 meters (1,063 ft.) tall about the same height as an 81-storey
building. Its base is square, 125 meters (410 ft.) on a side. During its
construction, the Eiffel Tower surpassed the Washington Monument to become
the tallest man-made structure in the world.
 The tower has three levels for visitors, with restaurants on the first and second.
The top level's upper platform is 276 m (906 ft.) above the ground, the highest
accessible to the public in the European Union.
 The puddled iron of the Eiffel Tower weighs 7,300 tons, and the entire structure,
including non-metal components, is approximately 10,000 tons.
Ferro Concrete: Concrete reinforced with steel. Ferroconcrete, or ferrocrete, was a
composite building material made from the combination of concrete andiron that was
molecularly bonded to produce a substance with exceptional resistance to wear and
tear. The material was used primarily in the construction of roads and walkways, but
also for reinforced bunkers and building foundations.
Auguste Perret:
 Auguste Perret (1874 –1954) was a French architect and a world leader and
specialist in reinforced concrete construction. In 2005, his post-World War
II reconstruction of Le Havre was declared by UNESCO one of the World
Heritage Sites.
 Perret worked on a new interpretation of the neo-classical style. He continued to
carry the banner of nineteenth century rationalism after Viollet-le-Duc. His efforts
to utilize historical typologies executed in new materials were largely eclipsed by
the younger media-savvy architect Le Corbusier, Perret's one-time employee,
and his ilk.
 From 1940 Perret taught at the École des Beaux-Arts. He won the Royal Gold
Medal in 1948 and the AIA Gold Medal in 1952.

 Rue Franklin Apartment-

  This apartment building with which Perret established his reputation is to
be regarded as one of the canonical works of 20th-century architecture,
not only for its explicit and brilliant use of the reinforced concrete frame
(the Hennebique system) but also for the way in which its internal
organization was to anticipate Le Corbusier's later development of the free
plan.
 Perret deliberately made the apartment partition walls nonstructural
throughout and their partial removal would have yielded an open space,
punctuated only by a series of free-standing columns.
 As it is, each floor is organized with the main and service stairs to the rear
(each with its own elevator) the kitchen to one side and the principal
rooms to the front. These last are divided up from left to right into rooms
assigned to smoking, dining, living, sleeping and reception.

 Notre Dame du Raincy-

 The Church of Notre Dame du Raincy is a modern church built in 1922-23 by
the French architects Auguste Perret and Gustave Perret. It is considered a
monument of modernism in architecture, using reinforced concrete in a manner
that expresses the possibilities of the new material.
 Felix Nègre, proposed in 1918 to build a church to commemorate the French
victory in the Battle of the Marne in 1914. Nègre came into contact with the
Perrets. The design used concrete for economy. Rather than attempting to
simulate masonry, the new material was used on its own terms, with
standardized elements, slender supports, and thin membranes pierced by
windows.
 The completed church received widespread favorable attention, influencing
architectural thought at a time of rebuilding and economic recovery. The
 magnificent stained glass was created by Marguerite Huré using colored coatings
on clear glass for economy. The colors are dominated by blues near the entry
and progress to warmer tones in the sanctuary.

 St. Joseph's Church-

 A Roman Catholic Church in Le Havre, France, built between 1951 and 1957/58
as part of the reconstruction of the town of Le Havre, which was entirely
destroyed by the British during World War II. It acts as a memorial to the five
thousand civilians who died in the conflict.
 The church was designed by the chief architect for the reconstruction of Le
Havre, Auguste Perret. Interior is in the Neo-Gothic style. The tower is 107
meters tall and acts as a beacon visible from out at sea, especially at night when
illuminated.
Tony Garnier:
 Tony Garnier (1869 –1948) was a noted architect and city planner. He was most
active in his hometown of Lyon.
 Garnier is considered the forerunner of 20th century French architects.
 Garnier studied architecture at the des Beaux-arts de Lyon (1886-89) and the
des Beaux-Arts in Paris (1890-99).
 The Stade de Gerland (otherwise known as Municipal de Gerland or Stade
Gerland) is a stadium, in the city of Lyon, France is Garnier’s famous works.
 Module 2

L’art Nouveau Movement:

 Art Nouveau was an innovative international style of modern art that became
fashionable from about 1890 to the First World War. Arising as a reaction to 19th-
century designs dominated by historicism in general and neoclassicism in
particular, it promulgated the idea of art and design as part of everyday life.
 Henceforth artists should not overlook any everyday object, no matter how
functional it might be. This aesthetic was considered to be quite revolutionary
and new, hence its name - New Art - or Art Nouveau.
 Hence also the fact that it was applied to a host of different forms including
architecture, fine art, applied art, and decorative art. Rooted partly in the
Industrial Revolution, and the Arts and Crafts Movement, Art Nouveau was given
a major boost by the Exposition Universelle in Paris. After this, it spread across
Europe and as far as the United States.
 A highly decorative idiom, Art Nouveau typically employed intricate curvilinear
patterns of asymmetrical lines, often based on plant-forms. Floral and other
plant-inspired motifs are popular Art Nouveau designs, as are female silhouettes
and forms.

Three Places of Nancy:

Alliance Square: This square originally called Saint Stanislas Square is part of the
architectural unity commissioned by Stanislas from Emmanuel Héré, to be built on the
site of the Duke's kitchen garden. A baroque fountain by the sculptor Cyfflé, which to
begin with, was meant to stand in the center of the semicircle on Carrière Square was
finally installed here. It is a symbol of the alliance in 1756 between the Austro-
Hungarian Empire and France and is the origin of the name of the square.

Carriere Square: Place de la Carrière, or Carriere Square, appeared in the middle of

the sixteenth century when the medieval fortifications of the city were moved back due
to a recent extension of the city to the east. Its name comes from its career use for
jousting, tournaments and other equestrian games.

Stanislas Square: Considered the most beautiful royal square in Europe and high point
of Nancy’s outstanding collection of 18th century monuments, on UNESCO’s World
Heritage List. A magnificent example of Classical French architecture, built by
Emmanuel Héré, it is surrounded by the wrought-iron worker Jean Lamour’s finely
worked railings with gold highlights. The Square’s majestic fountains are by Barthélemy
Guibal. Famous buildings surrounding the square include the City Hall, the Theatre-
Opera House, and Fine Arts Museum. The magnificent buildings round the square are
classical in style. The City Hall takes up the whole of the south side. The facade above
the main entrance is decorated with the coats of arms of both Stanislas and the town of
Nancy. The present day Grand Hotel and the Opera House stand on the east side.

Victor Horta:
 Victor Horta (1861 –1947) was a Belgian architect and designer and he is
known as “the key European Art Nouveau architect." Horta is considered one of
the most important names in Art Nouveau architecture.
 With the construction of his Hôtel Tassel in Brussels in 1892-3, he is sometimes
credited as the first to introduce the style to architecture from the decorative arts.
 He joined the Department of Architecture at the Royal Academy of Fine Arts in
Ghent. In 1884 Horta won the first Prix Godecharle to be awarded for
Architecture as well as the Grand Prix in architecture on leaving the Royal
Academy.
 He focused on the curvature of his designs, believing that the forms he produced
were highly practical and not artistic affectations.
 Hôtel Tassel-
 The Hotel Tassel is a town house built by Victor Horta in Brussels for the
Belgian scientist and Professor Emile Tassel in 1893–1894. It is generally
considered as the first true Art Nouveau building, because of its highly innovative
plan and its groundbreaking use of materials and decoration.
 The first town house built by Victor Horta was the Maison Autrique. This dwelling
was already innovative for its application of a novel 'Art Nouveau' decorative
scheme.
 However the floor plan and spatial composition of the Maison Autrique remained
rather traditional. On the deep and narrow building plot the rooms were
organized according to a traditional scheme used in most Belgian town houses at
that time. It consisted of a suite of rooms on the left side of the building plot
flanked by a rather narrow entrance hall with stairs and a corridor that led to a
small garden at the back.
 Horta made the maximum of his skills as an interior designer. He designed every
single detail; door handles, woodwork, panels and windows in stained
glass, mosaic flooring and the furnishing. Horta succeeded in integrating the
lavish decoration without masking the general architectural structures.
  Hotel Solvay:
The Hôtel Solvay is a large Art Nouveau town house designed by Victor Horta on
the Avenue Louise in Brussels. The house was commissioned by Armand Solvay, the
son of the wealthy Belgian chemist and industrialist Ernest Solvay.
For this wealthy patron Horta could spend a fortune on precious materials and
expensive details. Horta designed every single detail; furniture, carpets, light fittings,
tableware and even the doorbell. He used expensive materials such as marble, onyx,
bronze, tropic woods etc.
For the decoration of the staircase Horta cooperated with the
Belgian pointillist painter Théo van Rysselberghe.
 12 Rue de Turin:

True Construction: True construction relates to the term a form of construction which
is something between traditionalist and modernist architecture.
 Hendrik Petrus Berlage:
 Hendrik Petrus Berlage (1856 –1934) was a prominent Dutch architect.
Berlage was born in Amsterdam. He studied architecture at the Zurich
 Institute of Technology between 1875 and 1878 after which he traveled
extensively for 3 years through Europe.
 Berlage was influenced by the Neo-Romanesque and of the combination
of structures of iron seen with brick of the Castle of the Three Geckos.
 Considered the "Father of Modern architecture" in the Netherlands and the
intermediary between the Traditionalists and the Modernists.
 Jachthuis St. Hubertus-

 This building is also called Hunting Lodge St. Hubert was in 1914 designed
by architect Hendrik Petrus Berlage.
 The whole building is built of brick , inside often glazed , and slate . Berlage
designed not only the building but also the interior. Everything in the interior is
matched: the tiles, lamps, furniture and even the crockery and cutlery are
designed to detail by Berlage.
 The tower in the middle of the building is a cross displayed. The large stained-
glass windows in the hall give the story of Hubertus. Lobby, dining room, library
and tea room have different color themes that symbolize the stages in the life of
Hubert.
 The building is very luxurious performed. The windows on the ground floor can
sink in their entirety in the basement wall, just like in old trains.

 Museum de Fundatie- It is an art museum on two locations in the province

of Overijssel in the Netherlands, one in the city of Zwolle and the other near the
villages of Heino and Wijhe. In the collection of over7,000 objects are works
of Chagall, Mondrian, and Van Gogh. In 2014, the museum had 261,500 visitors.
 The Gemeentemuseum Den Haag- It is an art museum in The Hague in
the Netherlands. The museum, built 1931–1935, was designed by the Dutch
architect H.P. Berlage. It is renowned for its large Mondrian collection, the largest
in the world.

 Henry Hobson Richardson:

 Henry Hobson Richardson (1838 –1886) was a
prominent American architect. Richardson went on to study at Harvard
College and Tulane University. Initially, he was interested in civil
engineering, but shifted to architecture.
 The Trinity Church in Boston solidified Richardson's national reputation
and led to major commissions for the rest of his life.
 Style Richardsonian is a revival style based on French and Spanish
Romanesque. Richardson's style is characterized by massive stone walls
and dramatic semicircular arches. Continuity and unity are keynotes of
Richardson's style.
 Trinity Church in the City of Boston-
 It is located in the Back Bay of Boston, Massachusetts, is a parish of
the Episcopal Diocese of Massachusetts. Four services are offered each
Sunday, and weekday services are offered three times a week from September
through June. The building's plan is a modified Greek Cross with fore arms
extending outwards from the central tower, which stands 64 m (211 ft.) tall.
 The church is situated in Copley Square, in the shadow of the John Hancock
Tower. Having been built in Boston's Back Bay, which was originally a mud flat.
 Trinity rests on some 4500 wooden piles, each driven through 30 feet of gravel
fill, silt, and clay, and constantly wetted by the water table of the Back Bay so
they do not rot if exposed to air.
 The church's windows were originally clear glass at consecration in 1877, with
one exception, but soon major windows were added, and revolutionized window
glass with their layering of opalescent glass.
  Trinity Church is the only church in the United States and the only building in
Boston that has been honored as one of the "Ten Most Significant Buildings in
the United States" by the American Institute of Architects (AIA).

Balloon Frame Structure:

 Balloon framing is a style of wood-house building. It uses long continuous
framing members (studs) that run from the sill plate to the top plate, with
intermediate floor structures let into and nailed to them.
 When it first came into use, well before the mid-nineteenth century, it was a
radically different type of construction from the "timber frame" or "braced frame"
that preceded it for centuries.
 The earlier style timber framing used large timbers interlocked with chiseled
joints secured with wood pegs.

 "Balloon" was originally intended to be a derogatory term implying a light weight

structure that could be easily carried off in a breeze.
 When balloon framing first appeared, there's certainly plenty of evidence that
there was for this new type of construction. Many of those only familiar with the
heavy timber framing of earlier times felt it would be suitable only for temporary
structures.
 At first, most balloon framed buildings were rather plain and simple.
 Module 3

Chicago School:
Chicago's architecture is referred to as the Chicago School. The style is also known
as Commercial style. In the history of architecture, the Chicago School was
a school of architects active in Chicago at the turn of the 20th century.
They were among the first to promote the new technologies of steel-frame construction
in commercial buildings, and developed a spatial aesthetic which co-evolved with
parallel developments in European Modernism.
 The Home Insurance Building is generally noted as the first tall building to be supported,
both inside and outside, by a fireproof metal frame. It was constructed in 1884 in Chicago.
William Le Baron Jenney was the architect.

Bibliothèque nationale de France:

The Bibliothèque nationale de France is the National Library of France, located
in Paris. Dominique Perrault is a French architect and urban planner. He became world
known for the design of the French National Library, distinguished with the Silver medal
for town planning in 1992 and the Mies van der Rohe Prize in 1996. Based on the
principle of ‘less is more’.
 Sullivan Centre:
 The Sullivan Center, formerly known as the Carson, Pirie, Scott and
Company Building or Carson, Pirie, Scott and Company Store, is a
commercial building at 1 South State Street at the corner of East Madison
Street in Chicago, Illinois. It was designed by Louis Sullivan.
 The Sullivan Center was initially developed because of the Chicago Great Fire of
1871. In 1890, Schlesinger and Mayer hired Adler and Sullivan to prepare plans
for the removal of the Bowen Building’s attic story and the addition of two stories
across the Bowen Building and the adjacent four-story structure to the south. The
facades were added to match the bottom stories of the building and the building
was painted white.
 In 1892, Schlesinger and Mayer hired Adler and Sullivan to do further remodeling
and add a new entrance to the corner of State and Madison. In 1886, Sullivan, no
longer working with Adler, redesign the façade and add two stories to the newly
leased four-story building on Wabash avenue, as well as connecting it to the
State Street store. The facades were added to match the bottom stories of the
building and the building was painted white.

 The Chicago Building:

 The Chicago Building or Chicago Savings Bank Building was built in 1904-
1905. It is located at 7 W. Madison Street, Chicago.
 It was designed by architectural firm Holabird & Roche, it is an early and highly
visible example of the architecture. The building's features characterize this style
through the use of large "Chicago windows", metal frame construction, distinctive
bays, and terra cotta cladding.
  The combination of the north side projecting bay windows, and the east side
rectangular "Chicago windows" with movable sashes is representative of the two
typical Chicago school window types.
 The building is prominently located on the southwest corner of State Street and
Madison Street, with visibility increased by an offset in the alignment of State
Street. The building was designated a Chicago landmark on March 26, 1996. In
1997, it was converted to a dormitory for the School of the Art Institute of
Chicago.
Louis Sullivan:
 Louis Henry Sullivan (September 3, 1856 – April 14, 1924) was
an American architect, and has been called the "father of skyscrapers" and
"father of modernism".
 He is considered by many as the creator of the modern skyscraper, was an
influential architect and critic of the Chicago School, was a mentor to Frank Lloyd
Wright, and an inspiration to the Chicago group of architects who have come to
be known as the Prairie School.
 He studied at Massachusetts Institute of Technology and École des Beaux-Arts.
Prudential Building, also known as the Guaranty Building and Sullivan Centre are
his famous work.
Organic Architecture:

 Organic architecture is a philosophy of architecture which promotes harmony between human

habitation and the natural world through design approaches so sympathetic and well integrated
with its site, that buildings, furnishings, and surroundings become part of a unified, interrelated
composition.

 Be inspired by nature and be sustainable, healthy, conserving, and diverse.

 Follow the flows and be flexible and adaptable.
 Satisfy social, physical, and spiritual needs.
 "Grow out of the site" and be unique.
 Express the rhythm of music and the power of dance.

Frank Lloyd Wright:

 Frank Lloyd Wright (1867 –1959) was an American architect, interior designer,
writer, and educator, who designed more than 1,000 structures, 532 of which
were completed.
  Wright believed in designing structures that were in harmony with humanity and
its environment, a philosophy he called organic architecture. He made innovative
use of new building materials such as precast concrete blocks, glass bricks and
zinc comes (instead of the traditional lead) for his leadlight windows, and he
famously used Pyrex glass tubing as a major element in the Johnson Wax
Headquarters.
 Wright was also one of the first architects to design and install custom-made
electric light fittings, including some of the very first electric floor lamps, and his
very early use of the then-novel spherical glass lampshade (a design previously
not possible due to the physical restrictions of gas lighting).
 Wright's best-known art glass is that of the Prairie style. The simple geometric
shapes that yield to very ornate and intricate windows represent some of the
most integral ornamentation of his career.
The Falling Water:
 Falling water or Kaufmann Residence is a house designed by architect Frank
Lloyd Wright in 1935 in rural southwestern Pennsylvania, 43 miles) southeast
of Pittsburgh. The home was built partly over a waterfall on Bear Run, of
the Allegheny Mountains.
 Falling water stands as one of Wright's greatest masterpieces both for its
dynamism and for its integration with the striking natural surroundings. Wright's
passion for Japanese was strongly reflected in the design of Fallingwater,
particularly in the importance of interpenetrating exterior and interior spaces and
the strong emphasis placed on harmony between man and nature.
 This organically designed private residence was intended to be a nature retreat
for its owners. The house is well-known for its connection to the site; it is built on
top of an active waterfall which flows beneath the house.
 From the cantilevered living room, a stairway leads directly down to the stream
below, and in a connecting space which connects the main house with the guest
and servant level, a natural spring drips water inside, which is then channeled
back out. Bedrooms are small, some with low ceilings to encourage people
outward toward the open social areas, decks, and outdoors.
 Bear Run and the sound of its water permeate the house, especially during the
spring when the snow is melting, and locally quarried stone walls and
cantilevered terraces resembling the nearby rock formations are meant to be in
harmony. The design incorporates broad expanses of windows and balconies
which reach out into their surroundings. The staircase leading down from the
living room to the stream is accessed by movable horizontal glass panes.
The Guggenheim:
 The Solomon R. Guggenheim Museum, often referred to as The
Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner
of East 89th Street in the Upper East Side neighborhood of Manhattan, New York
City.
 Designed by Frank Lloyd Wright, the cylindrical building, wider at the top than the
bottom, was conceived as a "temple of the spirit". Its unique ramp gallery extends
up from ground level in a long, continuous spiral along the outer edges of the
building to end just under the ceiling skylight.
 Wright produced four different sketches for the initial design. While one of the
plans had a hexagonal shape and level floors for the galleries, all the others had
circular schemes and used a ramp continuing around the building.
 Wright's original concept was called an inverted "ziggurat", because it resembled
the steep steps on the ziggurats built in ancient Mesopotamia. The spiral design
recalled a nautilus shell, with continuous spaces flowing freely one into another.

Module 4:
Walter Gropius:
 Walter Adolph Georg Gropius (18 May 1883 – 5 July 1969) was
a German architect and founder of the Bauhaus School, who, along with Ludwig
 Mies van der Rohe, Le Corbusier and Frank Lloyd Wright, is widely regarded as
one of the pioneering masters of modern architecture.
 After studying architecture in Munich and Berlin for four semesters, Gropius
joined the office of the renowned architect and industrial designer Peter Behrens,
one of the first members of the utilitarian school. His fellow employees at this
time included Ludwig Mies van der Rohe & Le Corbusier.
 Gropius's career advanced in the postwar period. Henry van de Velde, the
master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was
asked to step down in 1915 due to his Belgian nationality.
 His recommendation for Gropius to succeed him led eventually to Gropius's
appointment as master of the school in 1919. It was this academy which Gropius
transformed into the world famous Bauhaus.
 In principle, the Bauhaus represented an opportunity to extend beauty and
quality to every home through well designed industrially produced objects. The
Bauhaus program was experimental and the emphasis, was theoretical.
 The rise of Hitler in the 1930s drove Gropius out of Germany. The house the
Gropius built for themselves in Lincoln, Massachusetts (now known as Gropius
House), was influential in bringing International Modernism to the U.S. and he
started to teach at the Harvard Graduate School of Design.
 Landscaping simplylsity
Gropius House:
 The Gropius House was the family residence of noted architect Walter
Gropius at 68 Baker Bridge Road, Lincoln, Massachusetts. It is now a historic
house museum, owned by Historic New England, and is open to the public.
 It was designated a National Historic Landmark in 2000 for its association with
Gropius, an influential teacher and leader of Modernist philosophy of
architecture. The house includes a collection of Bauhaus-related materials that is
unparalleled outside Germany.
 In keeping with Bauhaus philosophy, every aspect of the house and its
surrounding landscape was planned for maximum efficiency and simplicity.
Gropius carefully sited the house to complement its New England habitat on a
grassy rise surrounded by stone retaining walls, amidst wetlands and an orchard
of 90 apple trees which the Gropius allowed to grow naturally other than a few
rounds of mowing during the growing season.
 Gropius wanted the outdoor space around the home to be an equally "civilized
area" and created a lawn that extended twenty feet around the entire house, with
a perennial garden expanding in the south by the porch. Although the house sits
 on a rather flat plot of land, by keeping the woodlands well maintained, the
Gropius were able to retain a broad view of the south, east, and west.
 Gropius House mixes up the traditional materials of New England architecture
(wood, brick, and fieldstone) with industrial materials such as glass
block, acoustic plaster, welded steel, and chrome banisters.
 One of the most notable differences between the Gropius House and its adjacent
homes was the flat roof. While in much of Europe and even in certain parts of the
United States flat roofs were becoming quite common, in Lincoln and
surrounding areas high pointed roofs with gables were the norm. Gropius
fashioned his flat roof with a slight tilt to the center where water could drain off to
a dry well on the property.
 No artificial symmetry, but a free functional arrangement of the succession of
rooms, short, time-saving passages of communication, moving space for
children, clear separation between the living, the sleeping, and the housekeeping
parts of the house, and finally, proper utilization of the ground and especially the
sunny aspect.
The Bauhaus:
 The Bauhaus was first founded by Walter Gropius in Weimar. In spite of its name
and the fact that its founder was an architect, the Bauhaus, during the first years
of existence, did not have an architecture department.
 Nonetheless, it was founded with the idea of creating a "total" work of art in which
all arts, including architecture, would eventually be brought together.
 The Bauhaus style later became one of the most influential currents in modern
design, Modernist architecture and art, design and architectural education.
 Concentrated on practical formal analysis, in particular on the contrasting
properties of forms, colors and materials. Elements and principles of design and
color theory. T
 he Bauhaus had a major impact on art and architecture trends in Western
Europe, the United States, Canada and Israel in the decades following its
demise.
 One of the most important contributions of the Bauhaus is in the field of modern
furniture design. The White City of Tel Aviv refers to a collection of over 4,000
Bauhaus or International style buildings.
Le Corbusier:
 Charles-Édouard Jeanneret-Gris, who was better known as Le
Corbusier (October 6, 1887 – August 27, 1965), was a Swiss-French architect,
designer, painter, urban planner, writer, and one of the pioneers of what is now
 called modern architecture. He was born in Switzerland and became a French
citizen in 1930.
 His career spanned five decades, with his buildings constructed throughout
Europe, India, and the Americas.
 Studied at the La-Chaux-de-Fonds Art School and he found work in the office
of Auguste Perret, the French pioneer of reinforced concrete. Then he worked
near Berlin for the renowned architect Peter Behrens, where he may have
met Ludwig Mies van der Rohe and Walter Gropius.
Five Points of Architecture:
 Pilotis
 Free façade
 Open floor plan
 Roof garden
 Strips of ribbon windows
Modular:
Le Corbusier explicitly used the golden ratio in his Modulor system for
the scale of architectural proportion. He saw this system as a continuation of the long
tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man" and others who used the
proportions of the human body to improve the appearance and function of architecture.
In addition to the golden ratio, Le Corbusier based the system on human
measurements, Fibonacci numbers, and the double unit.
Villa Savoye:
 Villa Savoye is a modernist villa in Poissy, in the outskirts of Paris, France. It
was designed by Swiss architects Le Corbusier.
 A manifesto of Le Corbusier's "five points" of new architecture, the villa is
representative of the bases of modern architecture, and is one of the most easily
recognizable and renowned examples of the International style.
 Support of ground-level pilotis, elevating the building from the earth and allowed
an extended continuity of the garden beneath.
 Functional roof, serving as a garden and terrace, reclaiming for nature the land
occupied by the building.
 Free floor plan, relieved of load-bearing walls, allowing walls to be placed freely
and only where aesthetically needed.
 Long horizontal windows, providing illumination and ventilation.
  Freely-designed facades, serving only as a skin of the wall and windows and
unconstrained by load-bearing considerations.
 The Villa Savoye was a very influential building of the 1930s and imitations of it
can be found all over the world.

Notre Dame:

 The chapel of Notre Dame du Haut in Ronchamp completed in 1954, is one of

the finest examples of the architecture of Franco-Swiss architect Le
Corbusier and one of the most important examples of twentieth-century religious
architecture.
 Notre Dame du Haut is commonly thought of as a more extreme design of Le
Corbusier’s late style.
 The chapel is a simple design with two entrances, a main altar, and three
chapels beneath towers. Although the building is small, it is powerful and
complex.
 The structure is made mostly of concrete and is comparatively small, enclosed by
thick walls, with the upturned roof supported on columns embedded within the
walls, like a sail billowing in the windy currents on the hill top.
 In the interior, the spaces left between the walls and roof and filled
with clerestory windows, as well as the asymmetric light from the wall openings,
serve to further reinforce the sacred nature of the space and reinforce the
relationship of the building with its surroundings.
 The lighting in the interior is soft and indirect.
 The roof of Notre Dame du Haut appears to float above the walls. This is
possible, because it is supported by concrete columns, not the walls themselves.

Module 5:

Mies van der Rohe:

 Ludwig Mies van der Rohe (March 27, 1886 – August 17, 1969) was a
German-American architect. He is commonly referred to and was addressed
as Mies, his surname.
 Along with Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is widely
regarded as one of the pioneers of modern architecture.
 He created an influential twentieth-century architectural style, stated with extreme
clarity and simplicity.
  His mature buildings made use of modern materials such as industrial steel
and plate glass to define interior spaces.
 He strove toward an architecture with a minimal framework of structural order
balanced against the implied freedom of unobstructed free-flowing open space.
 He called his buildings "skin and bones" architecture.
 “Less is More” was his concept and he works on the functionality of the building.
Works on Vertical rise of the building.
 Barcelona Pavilion Crown Hall, Illinois Institute of Technology Seagram
Building Lafayette Park are his famous work.
 Less is more
 God in detail
 Simplysity functionality
 Vertical aprez of building
 Skin and bone architecture

Seagram Building:
 The Seagram Building is a skyscraper, located at 375 Park Avenue,
between 52nd Street and 53rd Street in Midtown Manhattan, New York City.
 The structure was designed by German architect Ludwig Mies van der
Rohe while the lobby and other internal aspects were designed by Philip
Johnson.
 The building stands 515 feet (157 m) tall with 38 stories, and was completed in
1958. It stands as one of the finest examples of the functionalist aesthetic and a
masterpiece of corporate modernism.
 His structure, and the International style in which it was built, had enormous
influences on American architecture.
 One of the style's characteristic traits was to express or articulate the structure of
buildings externally. It was a style that argued that the functional utility of the
building’s structural elements when made visible.
 A building's structural elements should be visible, Mies thought. The Seagram
Building, like virtually all large buildings of the time, was built of a steel frame,
from which non-structural glass walls were hung. Mies would have preferred the
steel frame to be visible to all; however, Mies used non-structural bronze-toned I-
beams to suggest structure instead.
 On completion, the construction costs of Seagram made it the world's most
expensive skyscraper at the time, due to the use of expensive, high-quality
materials and lavish interior decoration including bronze, travertine, and marble.
Philip Johnson:
 Philip Cortelyou Johnson (July 8, 1906 – January 25, 2005) was an
influential American architect. He is especially known for his postmodern work
from the 1980s and beyond, as well as his collaborations with John Burgee.
 In 1930, he founded the Department of Architecture and Design at the Museum
of Modern Art in New York City. In 1978 he was awarded an American Institute of
Architects Gold Medal and in 1979 the first Pritzker Architecture Prize.
 He was a student at the Harvard Graduate School of Design. Johnson was gay,
and has been called "the best-known openly gay architect in America. He came
out publicly in 1993.
 In 1961, he was elected into the National Academy of Design as an Associate
member and became a full Academician in 1963.
 In 1928 Johnson met with architect Ludwig Mies van der Rohe, who was at the
time designing the German Pavilion for the 1929 Barcelona International
Exposition.
 The meeting was a revelation for Johnson and formed the basis for a lifelong
relationship of both collaboration and competition.
 Seagram Building 101 California Street AEGON Center Bank of America Center
are his other famous work
 International and morden style
 Miss veder rose with work
 Material use
The Glass House:
 The Glass House or Johnson house, is a historic house museum at 798-856
Ponus Ridge Road in New Canaan, Connecticut. Built in 1949, it was designed
by Philip Johnson as his own residence, and "universally viewed as having been
derived from" the Farnsworth House design, according to Alice T. Friedman.
 Johnson curated an exhibit of Mies van der Rohe work at the Museum of Modern
Art in 1947, featuring a model of the glass Farnsworth House.
 It was an important and influential project for Johnson and for modern
architecture. The building is an essay in minimal structure, geometry, proportion,
and the effects of transparency and reflection.
 The house is mostly hidden from the street. It is behind a stone wall at the edge
of a crest in Johnson’s estate overlooking a pond.
 Visitors walk over grass and gravel strips as they approach the building.
 The building is 56 feet (17 m) long, 32 feet (9.8 m) wide and 10½ feet (3.2 m)
high.
  The kitchen, dining and sleeping areas were all in one glass-enclosed room,
which Johnson initially lived in, together with the brick guest house.
 The exterior sides of the Glass House are charcoal-painted steel and glass. The
brick floor is 10 inches above the ground.
 The interior is open with the space divided by low walnut cabinets; a brick
cylinder contains the bathroom and is the only object to reach floor to ceiling.
 The landscape surrounding the buildings was designed by Johnson and Whitney,
with manicured areas of gravel or grass, trees grouped in what Johnson called
outdoor "vestibules", and with care taken in the shape of the slopes and curves
of the ground. In part, the landscape was a reflection of a landscape painting.
Louis I Khan:
 Louis Isadore Kahn (March 5 [O.S. February 20] 1901 – March 17, 1974) was
an American architect,[2] based in Philadelphia. After working in various
capacities for several firms in Philadelphia, he founded his own atelier in 1935.
 While continuing his private practice, he served as a design critic and professor
of architecture at Yale School of Architecture from 1947 to 1957.
 From 1957 until his death, he was a professor of architecture at the School of
Design at the University of Pennsylvania.
 Kahn created a style that was monumental and monolithic; his heavy buildings
for the most part do not hide their weight, their materials, or the way they are
assembled.
 Louis Kahn's works are considered as monumental beyond modernism. Famous
for his meticulously built works, his provocative proposals that remained unbuilt,
and his teaching, Kahn was one of the most influential architects of the twentieth
century.
 He was awarded the AIA Gold Medal and the RIBA Gold Medal. At the time of
his death he was considered by some as "America's foremost living architect
 Kahn was elected a Fellow in the American Institute of Architects (AIA) in 1953.
He was made a member of the National Institute of Arts and Letters in 1964. He
was awarded the Frank P. Brown Medal in 1964. In 1965 he was elected into
the National Academy of Design as an Associate Academician. He was made a
member of the American Academy of Arts and Sciences in 1968 and awarded
the AIA Gold Medal, the highest award given by the AIA, in 1971,[17] and the
Royal Gold Medal by the RIBA, in 1972.
 Yale University Art Gallery Jatiyo Sangshad Bhaban Indian Institute of
Management, Ahmedabad are his famous work.
 Monolytjic contruction
  Traditionl contruction
 Proper litning .ventilation spaces,
Jatiyo Sangsad Bhaban:
 National Parliament House, is the house of the Parliament of Bangladesh,
located at Sher-e-Bangla Nagar in the Bangladeshi capital of Dhaka. Designed
by architect Louis Kahn, the complex, is one of the largest legislative complexes
in the world.
 Jatiyo Sangshad Bhaban (National Assembly Building) in Dhaka, Bangladesh, is
perhaps the most important building designed by Kahn. Kahn got the design
contract with the help of Muzharul Islam, one of his students at Yale University,
who worked with him on the project. It was Kahn's last project, developed during
1962 to 1974.
 The Parliament building is the centerpiece of the national capital complex
designed by Kahn that includes hostels, dining halls, and a hospital.
 Louis Kahn designed the entire Jatiyo Sangsad complex, which includes lawns,
lake and residences for the Members of the Parliament (MPs).
 The architect’s key design philosophy was to represent Bangladeshi culture and
heritage, while at the same time optimizing the use of space.
 The exterior of the building is striking in its simplicity, with huge walls deeply
recessed by porticoes and large openings of regular geometric shapes.
 The main building, which is at the center of the complex, is divided into three
parts – the Main Plaza, South Plaza and Presidential Plaza.
 An artificial lake surrounds three sides of the main building of Jatiyo Sangsad
Bhaban, extending to the Members of Parliament hostel complex.
 This skillful use of water to portray the riverine beauty of Bangladesh adds to the
aesthetic value of the site.
IIM, Ahmadabad:
 The institute's main building was designed by American architect Louis Kahn. For
Kahn, the design of the institute was more than just efficient spatial planning of
the classrooms; he began to question the design of the educational infrastructure
where the classroom was just the first phase of learning for the students.
 Their main focus was to create a new school of thought that incorporated a more
western-style of teaching that allowed students to participate in class discussions
and debates in comparison to the traditional style where students sat in lecture
throughout the day.
 In much of the same ways that he approached the design of the National
Assembly Building in Bangladesh, he implemented the same techniques in the
 Indian Institute of Management such that he incorporated local materials (brick
and concrete) and large geometrical façade extractions as homage to Indian
vernacular architecture.
 It was Kahn’s method of blending modern architecture and Indian tradition into an
architecture that could only be applied for the Indian Institute of Management.
 The large facade omissions are abstracted patterns found within the Indian
culture that were positioned to act as light wells and a natural cooling system
protecting the interior from India’s harsh desert climate.
 Even though the porous, geometric façade acts as filters for sunlight and
ventilation, the porosity allowed for the creation of new spaces of gathering for
the students and faculty to come together.
Module 7:
B. V. Doshi:
 Balkrishna Vithaldas Doshi (born 26 August 1927) is an Indian architect, who is
considered an important figure of South Asian architecture and noted for his
contributions to the evolution of architectural discourse in India.
 He is known for his contributions to the architecture of Indian Institute of
Management Bangalore.
 After having worked for four years between 1951-54 with Le Corbusier in Paris,
B. V. Doshi returned to Ahmedabad to supervise Le Corbusier's projects.
 His studio, Vastu-Shilpa (environmental design), was established in 1955.
 Doshi worked closely with Louis Kahn and Anant Raje, when Kahn designed the
campus of the Indian Institute of Management, Ahmedabad.
 Vernacular architecture
 Local construction
 Climatlelogy
 Vault use
 Less use of mechanical system
 Lot of vegetation and water body
Sangath:

 SANGATH means “moving together through participation.” Its B.V. Doshi’s office.
 Ahmadabad, Gujarat
 Not require mechanical heating and Cooling
 Reduces greenhouse gas emissions from heating, cooling, mechanical
ventilation and lighting
  Take advantage of natural energy flow
 Maintain the thermal comfort
 Design concerns of climate (temperature or humidity or sunlight).
 Extensive use of vaults
 Main studio partly bellow the ground (sunken)
 Very less use of mechanical instrument
 Special materials are used resulting in a low cost building costing it
 Lot of vegetation & water bodies
 Continuity of Spaces
 Use of lot of diffused sunlight
IIM Bangalore:
 The IIMB campus was designed by celebrated architect B V Doshi. The campus
is a destination and a pilgrimage for students of architecture and practising
architects, with the architecture of the academic and administrative blocks
becoming a case study. Completed in 1983, the original stone architecture is now
complemented by the greenery, just as B V Doshi had intended.
 The design of IIMB reflects the architect’s perfect sense of scale, proportion and
light.
 From the logo that portrays the rays of the rising sun to the design of the IIMB
complex, light plays a crucial role.
 The interplay of walls and openings, light and shadows, and solids and voids
change the character of the main building during different times of the day and
during different seasons.
 The high corridors are sometimes open; sometimes partly covered with skylights
and sometimes with only pergolas to heighten the spatial experience.
 The width of the corridors is modulated to allow for casual seating.
 Access to classrooms and administrative offices is provided through these
corridors.
 The design offers students and faculty the ability to see and feel nature even when
inside the classroom.
 The central courtyard or the central pergola gives one the feeling of being in a
place not unknown to one’s inner being.
 The courtyards and corridors are sensitive to the Indian context of community and
environment. They are lessons in rhythm and composition. They show that the
interior must be relevant to the exterior, and that life, art and architecture can co-
exist.
 The IIMB campus was envisaged as a place to be inhabited, as a place to facilitate
the course of human interaction.
  The design therefore conserves energy – human or mechanical, optimizes
technologies, adopts innovative ways of building and uses alternative materials.

Charles Correa:
 Charles Correa (1 September 1930 – 16 June 2015) was an Indian
architect, urban planner and activist. Credited for the creation of modern
architecture in post-Independence India, he was celebrated for his sensitivity to
the needs of the urban poor and for his use of traditional methods and materials.
 Correa began his higher studies at St. Xavier's College, Mumbai at the University
of Bombay (now Mumbai) went on to study at the University of Michigan in Ann
Arbor (1949–53) and the Massachusetts Institute of Technology (MIT) in
Cambridge, Massachusetts (1953–55).
 Correa was a major figure in contemporary architecture around the world. With
his extraordinary and inspiring designs, he played a pivotal role in the creation of
an architecture for post-Independence India. All of his work – from the carefully
detailed memorial Mahatma Gandhi Memorial Museum at the Sabarmati
Ashram in Ahmedabad to Kanchanjunga Apartment tower in Mumbai, the
Jawahar Kala Kendra in Jaipur, the planning of Navi Mumbai, MIT's Brain and
Cognitive Sciences Centre in Cambridge, and most recently, the Champalimad
Centre for the Unknown in Lisbon, places special emphasis on prevailing
resources, energy and climate as major determinants in the ordering of space.
He designed the Parumala Church as well.
 Contemporary style
 Use of venacaular architecture
 Climatelogy

Kanchanjunga Apartment:

 By developing climatic solutions for different sites and programs, Indian architect
Charles Correa designed the Kanchanjunga Apartments.

 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.
  They pay homage to the vernacular architecture that once stood on the site
before the development in a number of ways.

 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. The old bungalows
solved these problems by wrapping a protective layer of verandas around the
main living areas.

Bharat Bhavan:

 Bharat Bhavan is an autonomous multi-arts complex and museum in the state of

capital Bhopal, established and funded by the Government of Madhya Pradesh.

 Charles Correa was devised like a campus, and incorporated structures on

cascading levels around terraced gardens leading down to the Upper Lake,
Bhopal.

 The building was highlighted by concrete domes and exposed brickwork, and
was designed to merge into the surrounding landscape of slopping rocks.

 The building is today seen as an important example of modern Indian

architecture.

 The complex includes an art gallery of Indian painting and sculpture, a fine art
workshop, an open-air amphitheatre, a studio theatre, an auditorium, a museum
tribal and folk art, libraries of Indian poetry, classical music as well as folk music.

 Besides this, Bhavan also hosts various artists and writers under its artist-in-
residence program at the "Ashram".
Raj Rewal:

Raj Rewal is a leading Indian architect. Raj Rewal was born in Hoshiarpur, Punjab,
India. Rewal lived in Delhi and Shimla from 1934–1951. He attended Harcourt Butler
higher secondary school. Between 1951-1954 he attended the Delhi School of
Architecture in New Delhi.
After completing a degree in architecture in New Delhi, he moved to London in 1955
where he lived until 1961. He attended the architectural association school of
architecture for one year and the Brixton school of building, London from 1956-60.

Raj Rewal worked at Michel Ecochards's office in Paris before starting his practice in
New Delhi in 1962. Between 1963-72, he taught at the School of Planning and
Architecture, Delhi. Gold Medal 1989 by the Indian Institute of Architects.

Mainly open spaces big construction

Pragati Maidan:

 Pragati Maidan is a venue for large exhibitions and conventions in New Delhi.
With 72,000 sq. meters of exhibition space, it is Delhi's largest exhibition Centre.

 The overall layout and project was designed by architect Raj Rewal, who also
designed some key buildings such as the Hall of Nations.

 It is a huge complex of buildings, covering over 150 acres (0.61 km2) sprinkled
with many lawns, overlooking the historic Purana Qila, which stands opposite
Gate no 1.

 The complex houses many pavilions like the Nehru Pavilion, the Defense
Pavilion, the Indira Pavilion, and the Son of India Pavilion.

 It has various building which are built in various shapes and sizes. It also has an
auditorium where Rock shows and plays are held quite frequently.
  There is also an internal shuttle service for those who do not wish to walk.
Pragati Maidan houses a movie theatre called Shakuntalam, quite popular
among college kids for its comparatively cheap tickets.

 The complex houses 18 exhibition halls, several buildings, eateries, performance

spaces and compounds, including headquarters of the India Trade Promotion
Organization (ITPO)

Halls of Nation:

 The Permanent Exhibition Complex is designed to form the focus of 130 acres of
Exhibition ground designed by Raj Rewal in New Delhi.
 The design was evolved to meet the constraints of time, availability of materials
and labour, but above all, to reflect symbolically and technologically.
 The depth of the structural system was utilized as a Sun breaker and conceived
of in terms of the traditional 'jali', a geometrical pattern of perforation that serves
to obstruct directs rays of the harsh Sun while permitting air circulation.
 The main pavilion of the Hall of Nations has a clear span of 78 meters and a
height varying from three meters to 21 meters, thereby providing a vast capacity
for items to be exhibited, from books to bulldozers.
 The plan of these pavilions is square with chamfered comers, providing eight
anchoring points. The corners were inspired by the tomb of Moghul Emperor
Humayun and the Taj Mahal.

 In the Hall of Nations an uninterrupted volume is achieved where the height

varies from 3 m to 30 m. This permits the display of such diverse objects as
aircraft, earthmoving equipment, tractors and cranes.

 In the Hall of Industries the height varies from 2.5 m to 15 m. The square plan
adopted permits additional units to be added as needed.
Achyut Purushottam Kanvinde:

 Achyut Purushottam Kanvinde (1916–28 December 2002) was an Indian

architect who worked in functionalist approaches with elements of Brutalist
architecture. He received the Padma Shri in 1974.

 He was born in Achare, in the Konkan region of Maharashtra, in 1916 in a large

family. Kanvinde graduated in architecture from Sir J.J. School of Arts, Mumbai in
1942.

 He was then sent by the Government of India to study at Harvard where he

worked under Walter Gropius and was influenced by his thinking and teaching.

 When he returned to India he joined the Council for Scientific and Industrial
Research. In 1985, he was the winner of the IIA “"aburao Mhatre Gold Medal”.

 Kanvinde played with space and forms. A famous example is the ISKCON
Temple at New Delhi.

 He gave great importance to natural light. The form of the building is such that
the problem of ventilation as well as excessive heat is beautifully solved.

 He championed the cause of vernacular architecture. He believed that values

and historical influences contributed towards good architecture.

 He believed that a grid of columns forming a matrix giving structural and spatial
aspect would turn a design more sophisticated and faceted. He believed in the
science of Vaastushastra.
  IIT Kanpur Campus (1966), Doodhsagar Dairy ,Mehsana (National Dairy
Development Board) (1973), Institute of Rural Management, Anand (1979), The
University of Agricultural Sciences (UAS, Bangalore).

 Light

 Building form

 Vastu Shastra

Laurie Baker:

 Laurence Wilfred "Laurie" Baker (2 March 1917 – 1 April 2007) was a British-
born Indian architect, renowned for his initiatives in cost-effective energy-efficient
architecture and designs that maximized space, ventilation and light and
maintained an uncluttered yet striking aesthetic sensibility.

 Influenced by Mahatma Gandhi and his own experiences in the remote

Himalayas, he promoted the revival of regional building practices and use of local
materials; and combined this with a design philosophy that emphasized a
responsible and prudent use of resources and energy.

 He was a pioneer of sustainable architecture as well as organic architecture,

incorporating in his designs even in the late 1960s, concepts such as rain-water
harvesting, minimizing usage of energy-inefficient building materials, minimizing
damage to the building site and seamlessly merging with the surroundings.
  Due to his social and humanitarian efforts to bring architecture and design to the
common man, his honest use of materials, his belief in simplicity in design and in
life, and his stauch Quaker belief in non-violence, he has been called the "Gandhi
of architecture”.

 Throughout his practice, Baker became well known for designing and building
low cost, high quality, beautiful homes, with a great portion of his work suited to
or built for lower-middle to lower class clients.

 The Indian Coffee House, Kerala and Hamlet is his famous work.

The Hamlet
 This is Baker’s home in Trivandrum.
 This is remarkable and unique house built on a plot of land along the slope of a
rocky hill, with limited access to water:
 However Baker’s genius has created a wonderful home for his family
 Material used from unconventional sources
 Family eats in kitchen
 Electricity wiring is not concealed
 INNER COURTYARD …CLOSE TO NATURE
 ARCHES LED INTO A BEAUTIFUL OPEN ROOM
 COURTYARD HAS MANY GARDENS AND PONDS
 Pitched roof made of Mangalore tiles
 BAKER’S FONDNESS OF ARCHES
 GABLES FOR PROPER AIR CIRCULATION AND VENTILATION
 SIMPLE YET BEAUTIFUL WINDOWS
 GRILL MADE OF BITS AND PIECES
 CONICAL STRUCTURE USED.
Module 6:

Eero Saarinen:
  (August 20, 1910 – September 1, 1961) was a Finnish
American architect and industrial designer of the 20th century famous for
shaping his neofuturistic style according to the demands of the project:
simple, sweeping, arching structural curves or machine-like rationalism.

 Saarinen first received critical recognition, while still working for his father, for
a chair designed together with Charles Eames for the "Organic Design in
Home Furnishings" competition in 1940, for which they received first prize.

 Eero Saarinen and Associates was Saarinen's architectural firm; he was the
principal partner from 1950 until his death in 1961.

 The firm was initially known as "Saarinen, Swansen and Associates", headed
by Eliel Saarinen and Robert Swansen from the late 1930s until Eliel's death
in 1950.

 One of the best-known thin-shell concrete structures in America is the Kresge

Auditorium (MIT), which was designed by Saarinen.

 Another thin-shell structure that he created is Yale's Ingalls Rink, which has
suspension cables connected to a single concrete backbone and is
nicknamed "the whale". Undoubtedly, his most famous work is the TWA Flight
Center, which represents the culmination of his previous designs and
demonstrates his neofuturistic expressionism and the technical marvel in
concrete shells.

Alvar Aalto:

 (3 February 1898 – 11 May 1976) was a Finnish architect and designer, as

well as a sculptor and painter.
  His work includes architecture, furniture, textiles and glassware. Aalto's early
career runs in parallel with the rapid economic growth and industrialization of
Finland during the first half of the twentieth century and many of his clients
were industrialists; among these were the Ahlström-Gullichsen family.

 In initial period he work on functionalism and classism and later he worked on

monumentalisms.

 Aalto's work with wood, was influenced by early Scandinavian architects.

Auditorium of the Viipuri Municipal Library in the 1930s

 Main Building of the JyväskyläUniversity (1955) Auditorium of the University

of Technology, Helsinki, Finland (1949–66) The Aalto-Theater opera house in
Essen, Germany

Oscar Niemeyer:

 (December 15, 1907 – December 5, 2012 was a Brazilian architect who is

considered to be one of the key figures in the development of modern
architecture.

 Niemeyer was best known for his design of civic buildings for Brasília,
a planned city that became Brazil's capital in 1960, as well as his
collaboration with other architects on the Headquarters of the United
Nations in New York City.

 His exploration of the aesthetic possibilities of reinforced concrete was highly

influential in the late 20th and early 21st centuries.

 Awarded the prestigious Pritzker Architecture Prize in 1988.

  Cathedral of Brasília, hyperboloid structure Palácio do Planalto, the official
workplace of the President of Brazil The National Congress of Brazil, Brasília
and Edifício Copan, São Paulo

The Niterói Contemporary Art Museum, Brazil

Oscar Niemeyer Museum(NovoMuseu), Curitiba, Brazil

Brazilian National Museum,Brasília, Brazil

Richard Joseph Neutra:

 (April 8, 1892 – April 16, 1970) was an Austrian-American architect.
 Living and building for the majority of his career in Southern California, he
came to be considered among the most important modernist architects.
 He was famous for the attention he gave to defining the real needs of his
clients, regardless of the size of the project, in contrast to other architects
eager to impose their artistic vision on a client.
 Neutra sometimes used detailed questionnaires to discover his client's
needs, much to their surprise.
  His domestic architecture was a blend of art, landscape, and practical
comfort. Neutra had a sharp sense of irony.

Cyclorama Building, Gettysburg, Pennsylvania

Jardinette Apartments, Hollywood

Kaufmann House, Palm Springs, California.

Garden Grove Community Church, Garden Grove, CA

Norman Robert Foster:

 (Born 1 June 1935) is an English architect. His company has an international

design practice.
 He is the United Kingdom's biggest builder of landmark office buildings.
 In 2009 Foster was awarded the Prince of Asturias Award in the Arts
category.
 Foster was particularly interested in the works of Frank Lloyd Wright, Ludwig
Mies van der Rohe, and Le Corbusier.
 Foster was awarded the Pritzker Architecture Prize in 1999.
 30 St Mary Axe: This building serves as the London headquarters for Swiss
Re and is informally known as "The Gherkin".
The Hearst
Tower in New
York City.

The Expo MRT Station, part

of the Mass Rapid
Transit system
in Singapore.
Antoni Gaudí:
 (25 June 1852 – 10 June 1926) was a Spanish Catalan architect
from Reus and the best known practitioner of Catalan Modernism. Gaudí's
works reflect an individualized and distinctive style. Most are located
in Barcelona, including his magnum opus, the Sagrada Família.
 Gaudi’s work was influenced by his passions in life: architecture, nature, and
religion.[3] Gaudí considered every detail of his creations and integrated into
his architecture such crafts as ceramics, stained glass, wrought
ironwork forging and carpentry.
 He also introduced new techniques in the treatment of materials, such
as trencadís which used waste ceramic pieces.
  The work of Antoni Gaudí represents an exceptional and outstanding creative
contribution to the development of architecture and building technology in the
late 19th and early 20th centuries.
 Gaudi’s work exhibits an important interchange of values closely associated
with the cultural and artistic currents of his time, as represented in el
Modernisme [sic] of Catalonia. It anticipated and influenced many of the forms
and techniques that were relevant to the development of modern construction
in the 20th century.
 Several of Gaudí's works have been granted World Heritage status by
UNESCO: in 1984[154] the Park Güell, the Palau Güell and the Casa Milà; and
in 2005. the Nativity facade, the crypt and the apse of the Sagrada Família,
the Casa Vicens and the Casa Batlló in Barcelona, together with the crypt of
the Colònia Güell in Santa Coloma de Cervelló.

Frank Owen Gehry:

 (28 February 1929) is a Canadian-born American architect, residing in Los
Angeles.
 A number of his buildings, including his private residence, have become
world-renowned attractions.
 His works are cited as being among the most important works
of contemporary architecture in the 2010 World Architecture Survey, which
led Vanity Fair to label him as "the most important architect of our age".
 Gehry's best-known works include the titanium-clad Guggenheim
Museum in Bilbao, Spain; Walt Disney Concert Hall in downtown Los
Angeles;Louis Vuitton Foundation in Paris, France; MIT Ray and Maria Stata
Center in Cambridge, Massachusetts; The Vontz Center for Molecular
Studies on the University of Cincinnati campus; Experience Music
Project in Seattle; New World Center in Miami Beach; Weisman Art
Museum inMinneapolis; Dancing House in Prague; the Vitra Design
Museum and the museum MARTa Herford in Germany; the Art Gallery of
 Ontario in Toronto; the Cinémathèque française in Paris; and 8 Spruce
Street in New York City.

The Experience Music Project inSeattle

Walt Disney Concert Hall

Dancing House in Prague

Gehry Tower in Hanover

Hotel Marqués de Riscal in Elciego, Spain

Kenzō Tange:
 (4 September 1913 – 22 March 2005) was a Japanese architect, and winner
of the 1987 Pritzker Prize for architecture.
 He was one of the most significant architects of the 20th century, combining
traditional Japanese styles with modernism, and designed major buildings on
five continents.
 Tange was also an influential patron of the Metabolist movement. Work on
the Peace Centre commenced in 1950.
 In addition to the axial nature of the design, the layout is similar to Tange's
early competition arrangement for the Greater East Asia Co-Prosperity
Sphere Memorial Hall.
 The museum is constructed from bare reinforced concrete. The primary
museum floor is lifted six metres above the ground on huge piloti and is
accessible via a free-standing staircase.
 The rhythmical facade comprises vertical elements that repeat outwards from
the center.
  Like the exterior, the interior is finished with rough concrete; the idea was to
keep the surfaces plain so that nothing could distract the visitor from the
contents of the exhibits.
 Tange won a Pritzker Prize for the design for Tokyo Arena.

Ieoh Ming Pei:

 (Born April 26, 1917), commonly known as I. M. Pei, is a Chinese
American architect. In 1948, Pei was recruited by New York real estate
magnate William Zeckendorf.
 There he spent seven years before establishing his own independent design
firm I. M. Pei & Associates in 1955, which became I.M. Pei & Partners in 1966
and later in 1989 became Pei Cobb Freed & Partners.
 Pei retired from full-time practice in 1990. Since then, he has taken on work
as an architectural consultant primarily from his sons' architectural firm Pei
Partnership Architects.
 His first major recognition came with the National Center for Atmospheric
Research in Colorado; his new stature led to his selection as chief architect
for the John F. Kennedy Library in Massachusetts.
 Le Grand Louvre, Paris National Gallery East Building, Washington, DC