CONTEMPORARY WORLD

ARCHITECTURE– EARLY YEARS

LATE MODERNISM

DR. P.S. CHANI

DEPARTMENT OF ARCHITECTURE & PLANNING
IIT ROORKEE
LATE MODERNISM

 Started in 1960s

 Have carried forward the architectural

concepts of the Modernists

 These concepts form the ‘foundation’ on which

Late Modernism has been built

LATE MODERNISM

 1st visible results of departure from its ‘parent’

modernism – Brutalism

 Brutalism evident in the heavy concrete works of

Corbusier – Unite de Habitation, Ron Champ Chapel or

Chandigarh

 In these, a clear shift from his earlier approach – the

internationalist ideals of stark white planes, ribbon

windows, framed RCC structures …..

BRUTALISM UNITE
D'HABITATIO
N,
MARSEILLES
, FRANCE,
1946-52
ARCHITECT:
LE
CORBUSIER
YALE
YALEUNIVERSITY
UNIVERSITYART
ARTAND
ANDARCHITECTURE
ARCHITECTUREBUILDING,
BUILDING,NEW
NEW HAVEN,
HAVEN, CONNECTICUT,
CONNECTICUT, PAUL RUDOLPH,
PAUL RUDOLPH, 1958-64 1958-64
LATE MODERNISM

Apparent boredom with plain forms of Internationalism

caused architects to graduate to:

 Sculptural Expressionism

Expressing the building as a sculpture

 Geometrical Expressionism

Expressing the building as a composition of geometrical

masses
LATE MODERNISM - Sculptural Expressionism
 From Ron Champ Chapel, Late Modernists took a more
sculptural expression
 Use of sculptural forms
 References to forms of wings, sails, birds, snails etc.
 Art Nouveau similarities with their application of
biomorphic, zoomorphic, osteomorphic forms, most
strongly seen in works of Antoni Gaudi
But
 Buildings possessed sculptural qualities, being
‘sculptures’ themselves achieved in 20th century due to
evolution in building technology
 Sculptural Form

NOTRE DAME DU HAUT, OR RONCHAMP, RONCHAMP, FRANCE,

1955,
TWA TERMINAL, JFK AIRPORT, NEW YORK, USA,1961, EERO SAARINEN
The terminal wings lift to reveal fully glazed ends that allow passengers a view
of airplanes arriving and departing
TWA TERMINAL, JFK
AIRPORT
NEW YORK, USA,1961,
EERO SAARINEN

The swooping wings

& gentle curves
display confidence in
properties of RCC

AR 409 CONTEMPORARY WORLD ARCHITECTURE

SYDNEY OPERA HOUSE, SYDNEY, AUSTRALIA,1973
ARCHITECT: JORN UTZON

 Pre-cast concrete sections fixed together to produce the outer shells; then
clad in ceramic tiles that reflect the sky and water
 Whether the form was inspired by turtles or sails, it is a unique icon
PILGRIMAGE CHURCH, GERMANY, 1972; ARCHITECT: GOTTFRIED
BOHM
PILGRIMAGE CHURCH, GERMANY, 1972; GOTTFRIED BOHM
PILGRIMAGE CHURCH,
GERMANY, 1972;
ARCHITECT:
GOTTFRIED BOHM

Interior View
RIOLA CHURCH, BOLOGNA, ITALY, 1966– 78, ALVAR AALTO
RIOLA CHURCH, BOLOGNA, ITALY, 1966– 78, ALVAR AALTO
 REFERS TO AN ENORMOUS BIRD WITH SPREAD OUT
WINGS

LYON – SATOLAS AIRPORT RAILWAY STATION, LYON, FRANCE,

SANTIAGO CALATRAVA, 1989-1994
 EXPRESSIVE OF A BIRD, SYMBOLIZING FLIGHT WITH DYNAMISM

LYON – SATOLAS AIRPORT RAILWAY STATION, LYON, FRANCE,

SANTIAGO CALATRAVA, 1989-1994
SCIENCE CENTRE, NEMO ; AMSTERDAM, 1997, RENZO PIANO

Surrounded by sea, building has shape of a ship’s bow lying on the entrance of a
road tunnel
Vivek Vashistha (051031)
LATE MODERNISM - Geometrical Expressionism

 Also showed buildings as a Geometrical mass (like Ledoux,

Boullee)

 Leading style for public buildings of 1970s

 Building appears as a sculpture itself, having very strong

geometry

 Similar works of 18th century French architects, Etienne-Louis

Boulee and Claude-Nicolas Ledoux
Cooper’s Workshop, Claude-Nicolas Ledoux
Cenotaph to Newton, 1784, Ètienne-Louis Boulèe
Claude-Nicolas Ledoux
YALE UNIVERSITY ART
GALLERY, 1951-53;
STAIR WELL, LOOKING
UP
ARCHITECT: LOUIS
KAHN
SHER-E-BANGLA NAGAR,
NATIONAL ASSEMBLY
BUILDING
WEST DETAIL
DHAKA, BANGLADESH,
1962-83, LOUIS KAHN
INDIAN INSTITUTE OF MANAGEMENT, DORMITORIES
AHMEDABAD,1962-74; LOUIS KAHN
ART MUSEUM OF SOUTH TEXAS, CORPUS CHRISTI, TEXAS,
1972, JOHNSON/BURGEE ARCHITECTS
NATIONAL GALLERY OF ART - THE EAST BUILDING,
WASHINGTON, 1978, I.M.PEI
NATIONAL GALLERY OF ART - THE EAST BUILDING,
WASHINGTON, 1978, I.M.PEI
NATIONAL GALLERY OF ART - THE EAST BUILDING,
WASHINGTON, 1978, I.M.PEI
Angled view of front

NATIONAL GALLERY OF ART - THE EAST BUILDING, WASHINGTON, 1978,

PYRAMID AT THE LOUVRE, PARIS, I.M.PEI
LATE MODERNISM
 The concept of ‘Articulation’ – clear skin and bones structures
with repeated joints

 Articulation – jointed; segmented; able to express clearly; to

unite by joints: another example of applying a term from the
vocabulary of speech in architecture, like the use of the word
‘inflection’
KIMBELL ART MUSEUM, FORT WORTH, TEXAS, 1966-72; LOUIS I.
KIMBELL ART MUSEUM, FORT WORTH, TEXAS, 1966-72; LOUIS I.
KIMBELL ART MUSEUM, FORT WORTH, TEXAS, 1966-72; LOUIS I.
ATIRA HOUSING, AHMEDABAD, 1957-62.DOSHI
SARABHAI HOUSE
KIMBELL ART MUSEUM, FORT WORTH, TEXAS, 1966-72; LOUIS I.
SANGATH, ARCHITECT’S STUDIO, AHMEDABAD, 1979-81, B.V. DOSH
KIMBELL ART MUSEUM, FORT WORTH, TEXAS, 1966-72; LOUIS I.
SANGATH, ARCHITECT’S STUDIO, AHMEDABAD, 1979-81, B.V. DOSH
GANDHI
LABOUR
INSTITUTE,
AHMEDABAD
, 1980-84, B.V.
DOSHI
KIMBELL ART MUSEUM, FORT WORTH, TEXAS, 1966-72; LOUIS I.
SANGATH, ARCHITECT’S STUDIO, AHMEDABAD, 1979-81, B.V. DOSH
SANGATH, ARCHITECT’S STUDIO, AHMEDABAD, 1979-81, B.V. DOSH
GANDHI LABOUR INSTITUTE, AHMEDABAD, 1980-84, B.V.
 LATE MODERNISM

CENTRAAL BEHEER OFFICE BUILDING, APELDOORN, THE

NETHERLANDS, 1972, AERIAL VIEW; ARCHITECTS: HERMAN
HERTZBERGER (WITH LUCAS AND NIEMEYER)
 LATE MODERNISM

SPEELHUIS LEISURE CENTER, HELMOND, THE NETHERLANDS,

1975-78 ARCHITECT: PIET BLOM
LATE MODERNISM
From Internationlism (Le Corbusier)

 Introduction of the ‘white aesthetic’

 White planar geometry exaggerated as seen in the works of

Richard Meier

 The alignments of the white planes quite asymmetrical vis-à-

vis the works of the Internationalists

 Interiors reveal the continuity of the Internationalists

 Space, geometry and light

 LATE MODERNISM

Villa Savoye, Poissy, France, 1928-29

Architect: Le Corbusier
 LATE MODERNISM

THE ATHENEUM, NEW HARMONY, INDIANA, USA, 1975-79;

ARCHITECT:RICHARD MEIER
 LATE MODERNISM

THE ATHENEUM, NEW HARMONY, INDIANA, USA, 1975-79;

ARCHITECT:RICHARD MEIER
LATE MODERNISM
THE ATHENEUM,
NEW HARMONY,
INDIANA, USA, 1975-
79;
ARCHITECT:RICHAR
D MEIER
Villa Savoye, Poissy, France, 1928-29; Architect: Le Corbusier
TUGENDHAT HOUSE, CZECH REPUBLIC, 1930
ARCHITECT: MIES VAN DER ROHE
Villa
THE Savoye, Poissy, NEW
ATHENEUM, France, 1928-29; Architect:
HARMONY, INDIANA, Le USA,
Corbusier
1975-79;
ARCHITECT:RICHARD MEIER
VILLA SAVOYE, POISSY, FRANCE, THE ATHENEUM, NEW HARMONY,
1928-29; LE CORBUSIER INDIANA, USA, 1975-79; RICHARD MEIER
SMITH HOUSE
DARIEN, CONNECTICUT (1965-67)
RICHARD MEIER AR – 409 CONTEMPORARY WORLD ARCHITECTURE
 DECOMPOSE-RECOMPOSE

SCHRODER HOUSE, UTRECHT, GERRIT REITVELD, 1924

HOUSE-III: MILLER HOUSE, LAKEVILLE, CONNECTICUT
(1969-70), PETER EISENMAN
HOUSE-III: MILLER
HOUSE, LAKEVILLE,
CONNECTICUT
(1969-70),
PETER EISENMAN
PETER EISENMAN, TRANSFORMATION
PETER EISENMAN
DIAMOND SERIES
PROJECT-HOUSE 8
(1962-66)
JOHN HEJDUK
HOUSE II:FALK
HARDWICK
VERMONT(1969-70)
PETER EISENMAN
HANSELMANN HOUSE
FORT WAYNE, INDIANA (1967)
MICHAEL GRAVES
DOUGLAS HOUSE
HARBOR
SPRINGS,MICHIGAN
(1971-1973)
RICHARD MEIER
VILLA STEIN AT GARCHE,1927, FRANCE, LE CORBUSIER
SNYDERMAN HOUSE, FORT WAYNE, INDIANA (1972),
MICHAEL GRAVES
FROM BAUHAUS – The glass curtain wall with the framed structure
taken inside

The Bauhaus, Dessau, 1925-26; Architect: Walter Gropius

THE JOHN FITZGERALD KENNEDY LIBRARY COMPLEX, SOUTH
BOSTON, MASSACHUSETTS, 1979; ARCHITECT: I.M.PEI
THE JOHN
FITZGERALD KENNEDY
LIBRARY COMPLEX,
SOUTH BOSTON,
MASSACHUSETTS, 1979;
ARCHITECT: I.M.PEI
THE JAVITS CENTER, NEW YORK; ARCHITECT: I.M.PEI
THE JAVITS CENTER, NEW YORK; ARCHITECT: I.M.PEI
 LATE MODERNISM

GARDEN GROVE COMMUNITY CHURCH, CALIFORNIA,

1976-80; ARCHITECTS: JOHNSON/BURGEE ARCHITECTS
 LATE MODERNISM

GARDEN GROVE COMMUNITY CHURCH, CALIFORNIA,

1976-80; ARCHITECTS: JOHNSON/BURGEE ARCHITECTS
GARDEN GROVE COMMUNITY CHURCH, CALIFORNIA,
AR – 409 CONTEMPORARY WORLD ARCHITECTURE
1976-80; ARCHITECTS: JOHNSON/BURGEE ARCHITECTS
GARDEN GROVE COMMUNITY CHURCH, CALIFORNIA,
1976-80; ARCHITECTS: JOHNSON/BURGEE ARCHITECTS
LATE MODERNISM

AR – 409 CONTEMPORARY WORLD ARCHITECTURE

 LATE MODERNISM

GARDEN GROVE COMMUNITY CHURCH, CALIFORNIA, 1976-80

ARCHITECTS: JOHNSON/BURGEE ARCHITECTS
AR – 409 CONTEMPORARY WORLD ARCHITECTURE
MANUFACTURERS BANK
LOS ANGELES,1974
ARCHITECT: ANTHONY
LUMSDEN AND DMJM

THE SLICK
TECH
 LATE MODERNISM

WILLIS FABER DUMAS LTD., H.Q., IPSWICH, SUFFOLK, ENGLAND,

1972-75; ARCHITECTS: FOSTER ASSOCIATES
 LATE MODERNISM

WILLIS FABER DUMAS LTD., H.Q., IPSWICH, SUFFOLK, ENGLAND,

1972-75; ARCHITECTS: FOSTER ASSOCIATES
AR – 409 CONTEMPORARY WORLD ARCHITECTURE
 LATE MODERNISM

THE BAUHAUS, DESSAU, 1925-26; ARCHITECT: WALTER

GROPIUS
LATE MODERNISM

AR – 409 CONTEMPORARY WORLD ARCHITECTURE

RENAISSANC
E CENTER,
DETROIT,
MICHIGAN,
1977; JOHN
PORTMAN
AND
ASSOCIATES
RENAISSANCE CENTER,
DETROIT, MICHIGAN, 1977;
JOHN PORTMAN AND
ASSOCIATES
BONAVENTURE HOTEL
LOS- ANGELES, 1974-1977
ARCHITECTS; JOHN PORTMAN &
ASSOCIATES
 LATE MODERNISM

HYATT REGENCY
HOTEL, DALLAS,
TEXAS, 1976-78
ARCHITECTS:
WELTON BECKET &
ASSOCIATES

HYATT REGENCY HOTEL, DALLAS, TEXAS, 1976-78; ARCHITECTS: WELTON

BECKET AND ASSOCIATES
 LATE MODERNISM

HYATT REGENCY O’HARE HOTEL, CHICAGO, ILLINOIS

1964-71
ARCHITECTS; JOHN PORTMAN & ASSOCIATES
LATE MODERNISM

HYATT REGENCY
HOTEL, SAN
FRANCISCO,
CALIFORNIA,1972-74
ARCHITECT: JOHN
PORTMAN AND
ASSOCIATES

AR – 409 CONTEMPORARY WORLD ARCHITECTURE

LATE MODERNISM
HYATT REGENCY
HOTEL, DALLAS,
TEXAS, 1976-78
ARCHITECTS:
WELTON BECKET &
ASSOCIATES

AR – 409 CONTEMPORARY WORLD ARCHITECTURE

BUMI DAYA BANK
PROJECT
JAKARTA, INDONESIA
(1972-76)
ANTHONY LUMSDEN AND
DMJM
 This 60 storey office building is characterized by:
Each bay of each floor a single pane of glass
No spandrels between the floors
Minimum mullions
Plan in the form of a parallelogram
Reflective glass is tinted blue
Short sides of parallelogram marked with a deep vertical notch,
breaking the tower's mass; emphasizing verticality
Problems with the building:
Use of blue mirror glass in a steel tower came at a high price
The windows started blowing out shortly after the tower was built,
crashing into the sidewalk hundreds of feet below
All panes replaced by a different heat-treated variety
JOHN HANCOCK PLACE, BOSTON, USA,
1972-75, I.M. PEI
 Glass produced specially for façades (alternately transparent or
translucent)
 Curtain wall of translucent white glass partially covers the body
of the building, which is itself covered with transparent panes
which filter the light
LVMH (LOUIS VUITTON-MOËT “This building is a body, not a façade. It
HENNESSY TOWER), NEW YORK, is a crystal flower unfolding in the New
1996-1999, CHRISTIAN DE York sky.”
 LATE MODERNISM

FEDERAL RESERVE BANK OF MINNEAPOLIS, MINNESOTA,

1967-74; ARCHITECTS: GUNNAR BIRKERTS AND ASSOCIATES
SONY TOWER,
OSAKA, JAPAN, 1976;
LATE KISHO
ARCHITECT: MODERNISM
KUROKAWA

AR – 409 CONTEMPORARY WORLD ARCHITECTURE

LATE MODERNISM
 For more anonymous buildings
and occasional corporate
headquarters

 Adaptation of silver abstraction

and industrial aesthetic

 Neutral grid
 Structure and equipment as
ornament

 Promise of the future

LATE MODERNISM
 Use of metals in façade
 Most metals come with natural gray or silver finish – a
large role in determining this style

 Predictability and neutrality of silver or gray aesthetic -

essential aspects for team work design

 Many designers simultaneously working on small

components of an overall building whose final form
maynot be aesthetically predetermined – the neutrality of
silver a welcome background

 Nicely compatible with industrial components

LATE MODERNISM

AR – 409 CONTEMPORARY WORLD ARCHITECTURE

HONG KONG & SHANGAI
BANKING CORPORATION
HONG KONG, 1979-1986
ARCHITECTS: FOSTER
ASSOCIATES
 Engineers: Ove Arup and
Partners
 Structure: Steel frame and
glass
 100,000m sq. area, 180 m
high, 47 storey
 Innovative use of computer-
controlled mirror and
reflector system (saves
energy)
LLOYD’S, LONDON, ENGLAND, RICHARD ROGERS PARTNERSHIP, 1979-
LLOYD’S, LONDON, ENGLAND,
RICHARD ROGERS
PARTNERSHIP, 1979- 80

HIGH TECH

Richard Rogers:

 A building should appear to

be assembled from a "kit of
parts"
 Services and circulation are
obvious and accessible

 Building clad in materials

evoking the machine age--
in this case the stainless
steel and glass
AN OIL
REFINERY
LATE MODERNISM

 Claim that if we are

going to live with

the complex

technologies, why

shouldn’t they be

celebrated?

LLOYDS OF LONDON,
LONDON,
ENGLAND,1986
ARCHITECT: RICHARD
ROGERS
 HOTEL KYOCERA, KAGOSHIMA,
JAPAN, 1991-95, KISHO
KUROKAWA

Steel Structure and Steel Framed Feinforced Concrete

2 Basement Froor+ 13 Stories + 1 Penthouse
LATE MODERNISM

 The Bauhaus design like that of a machine with many

parts (components) distinct from each other, yet

working together

 Building considered to be a machine – a concept

suitable for the ‘Industrial Age’

 All ‘put together to work together’ and interdependent

 Corbusier propounded a similar concept – a house is a

‘machine for living’
LATE MODERNISM

 Hence, even in the International Style, the buildings

became ‘industrial’ – emphasis on making buildings

which were rational, functional having no ‘component’

without purpose

 Even evident in the city planning of Chandigarh

Corbusier evolved the concept of a machine from the

Villa to the mass housing to the city

LATE MODERNISM

Late Modernism carried on to the advanced phase of the

‘Industrial Age’
Architects looking in varying building typologies for
answers, of which many are quite unorthodox vis-à-vis the
building, but seem fundamentally correct, for eg.: the design
of community halls, exhibition halls based upon warehouses
and factories
The appearance of the ‘Factory aesthetic’ – application of
the vast column free spaces as in ware houses, factories,
large storage areas etc. to buildings like community centres,
large halls etc.
Similar to the Industrial Revolution – the Railway Station
with tracks covered with massive trussed roofs to provide
column free spaces
LATE MODERNISM

 Modern buildings were tempered by the spirit of the

‘Industrial Age’

 Similarly, contemporary buildings are being moulded in

the ‘Information Age’ – INTELLIGENT BUILDINGS

 Other important concepts concerning the contemporary

times are environment (green buildings), energy,
economics

 Architecture of this age also defined by the new

materials, as has happened in the preceding
civilisations and periods
LATE MODERNISM

 Late Modernism spaces have also turned ‘monumental’

w.r.t. space – very large column free spaces

 Eg. The Bartle Exhibition Hall, Kansas City by Helmut

Jahn: 200,000 sq.ft. of col. free space using repetitious
triangular trusses
Similar to the Berlin Art Gallery by Mies Van der Rohe and
other works by him
Evolution of the structural systems has enabled the Late
Modernists like Jahn to design even larger col. free spaces
vis-à-vis Mies
Therefore, the seminal idea of Mies getting evolved with the
advancement in structural systems
 LATE MODERNISM

BARTLE EXHIBITION HALL, KANSAS CITY CONVENTION CENTER,

MISSOURI, 1976; ARCHITECTS: HELMUT JAHN OF C.F. MURPHY
NEUE NATIONAL GALERIE, BERLIN, 1965-68
ARCHITECT: MIES VAN DER ROHE
LATE MODERNISM

 Large column free spaces using repetitious structural

members with vertical circulation, mechanical
equipment and service rooms provided at the perimeter

 An early example of such planning – Larkin Building by

F. L. Wright

 Such organisation of space an archetype (prototype) for

Late Modernism:
1. Perimeter structural supports and services
2. Column free Isotropic centre
(isotropic – having same physical properties in all directions)

3. Mechanical distribution, like air conditioning etc.

housed in flooring and ceiling ‘sandwiches’
BARTLE EXHIBITION HALL, KANSAS CITY CONVENTION CENTER, MISSOURI,
1976, PLAN; ARCHITECTS: HELMUT JAHN OF C.F. MURPHY ASSOCIATES
ST. MARY’S COLLEGE ATHLETIC FACILITY, SOUTH BEND,
INDIANA, 1977, INTERIOR; ARCHITECTS: HELMUT JAHN OF C.F.
MURPHY ASSOCIATES AR – 409 CONTEMPORARY WORLD ARCHITECTURE
LATE MODERNISM

Column Free Spaces – further comments

 Such contemporary spaces are an exaggeration of Mies’

Modernist model for column free spaces

 Predominantly a ‘factory’ space - architects attempted to

create interest by using primary colours; eg. Jahn’s
College Athletic Facility – red trusses, blue pipes and
yellow ducts

 Done to give some life to a repetitious and monotonous

space

Such use of primary colours - probably the influence of

Corbusier’s use of primary colours in his later buildings
THE INDUSTRIAL
AESTHETIC
LATE MODERNISM

POMPIDOU CENTRE, PARIS, 1971-77; RENZO PIANO & RICHARD ROGERS

One of the most dramatic examples of column free spaces
Do buildings like these have their roots in the Modern Movement ?
LATE MODERNISM
 Nothing hidden –
everything
expressed; open
expression of the
process of
manufacture,
erection,
maintenance …..
Thus no hierarchy
and composition,
but a symbol of POMPIDOU CENTRE, PARIS, 1971-77
ARCHITECTS: RENZO PIANO & RICHARD
process and ROGERS
technology
POMPIDOU CENTER, PARIS, 1971-77, INTERIOR OF LIBRARY; RENZO PIANO & R. ROGERS
Ceiling plane is the focus of architectural expression – again an ‘industrial
aesthetic’
SAINSBURY CENTER FOR VISUAL ARTS
UNIVERSITY OF NORTH ANGELINA, NORWICH, ENGLAND, 1975-78
ARCHITECTS: FOSTER ASSOCIATES
SAINSBURY CENTRE FOR THE VISUAL ARTS, UNIVERSITY OF EAST
ANGLIA, NORWICH, NORFOLK, ENGLAND, 1975-78
ARCHITECTS: FOSTER ASSOCIATES AR – 409 CONTEMPORARY WORLD ARCHITECTURE
 Bay
s add
ed

SAINSBURY CENTRE FOR THE VISUAL ARTS, UNIVERSITY OF EAST ANGLIA,

NORWICH, NORFOLK, ENGLAND, 1975-78, AXONOMETRIC; ARCHITECTS:
AR – 409 CONTEMPORARY FOSTER
WORLD ARCHITECTURE
LATE MODERNISM

Comments:

 Different ideas gleaned from the Modernists’ works, such

as:

- Miesian column free spaces

- Grand entrance of Sainsbury Center – a concept seen in

Le Corbusier’s High Court building at Chandigarh

LATE MODERNISM

Comments:
 The works of Mies Van der Rohe have been foundational,
resulting in global architectural trends:
- The large column free spaces
- The skyscraper
- The use of glass and steel

 Similarly true for Corbusier’s works in RCC and the spaces

designed by Gropius

 The arrival of a ‘neutral’ aesthetic – common to a

supermarket, a convention centre, warehouse, factory,
sports arena, art gallery, office building
LATE MODERNISM

Comments:
 Thus, many pioneering concepts propounded by the
Modernists through their works adopted and evolved by
the Late Modernists, such as the Larkin Building by F.L.
Wright:

- Atrium with natural light from the top

- Services on the periphery

- ‘Sealed’ Building with provision for circulation of fresh air

(an early attempt at central air conditioning)

- Steel furniture
LATE MODERNISM

Comments:

 Progress in structural engineering, building technology

and systems, new building materials – all have played a

vital role in the evolution of architecture in all ages

 Such progress has been very rapid in the 20th century and
has gathered further momentum by the turn of the 20th and

the beginning of the 21st century

 Opened up many opportunities for the architects to design

forms not possible earlier
LATE MODERNISM

Comments:

 Hence, new forms, the basis of stylistic classifications –

are they not more indebted to the evolution in

technology rather than new concepts that occupy our

minds

 Example – Corbusier’s ‘Domino System’ formed the basis

of his ‘Points of New Architecture’; the pilotis, free plan,

free façade etc. made possible because of the structural

system
LATE MODERNISM

Comments:
 Similarly, the evolution of the skyscrapers in the early
and later phase of Chicago School, the forms designed
by Antoni Gaudi, the cantilevered terraces of Falling
Water by F.L. Wright, the glass volume of Bauhaus by
Walter Gropius etc.

 Architectural concepts, expounded by architects both past

and present, a result of available technology

 Shouldn’t the study of technology, therefore, be the most

important part of your academic curriculum ?
LATE MODERNISM

Comments:
 But architectural concepts, styles, designing forms etc. –
are they not important ?

 Such conflict – to separate architecture from art, to

rationalise it as any other branch of science – this has

been passionately argued by architects and theorists

throughout the history of modern architecture (beginning

from the 18th century)

 The opposing idea of architecture being an art form has

also been strongly put forward and defended
LATE MODERNISM

Comments:
 The sound principle – both exist together – the architect is
neither a technologist nor an artist – he is a craftsman

 Excessive dependence on art, philosophy or some

dogmatic concept may produce a building which is a
‘functional’ or ‘operational’ failure

 Excessive dependence on technology can result in poor

planning and appearance

 Craftsman’s objective – an object which is both functional

and beautiful – a chair
LATE MODERNISM
OTHER PROJECTS
PACIFIC DESIGN
CENTER

Architect
Cesar Pelli and associates

Location : Los Angeles, CA

Phase I Completed : 1975

Phase I Completed : 1988

Building type : West coast’s

largest facility for fine
furnishings (residential
furniture, fabrics, architectural
products, wall-coverings,
lighting, kitchen and bath
products and accessories)
 Phase I – Center Blue (nicknamed
Blue Whale)
• Opened in September 1975, with
750,000 square-feet of floor area
• Space leased exclusively to the
top home furnishing showrooms to
the design trade
• Six storey structure
• Fulfills Charles Jencks' definition
of “slick tech” - an exaggeration of
the technological image toward the
glossy and ultra-smooth

Front with the cylindrical

escalator tower
 Phase II – Center Green
• Opened in March 1988,
adding 450,000 square-feet of
which, 200,000 square-feet
converted to creative office
space in 2001
• Three floors of showroom
tenants, a state-of-the-art,
fully equipped 388-seat film
theater and reception area
• Nine storey structure

• The two Centers are connected

on 1st, 3rd and 6th floors
• The complex's ultra-modern
infrastructure and state-of-the-art
building systems, including
elevators, HVAC and electrical,
designed to provide maximum
flexibility to suit the most
demanding tenant requirements.
THE MILLENNIUM DOME, GREENWICH, LONDON
 NIGHT VIEW

ARCHITECT – RICHARD ROGERS AND PATNERS

BUILDING TYPE: EXPOSITION HALL
STYLE : HIGH TECH MODERN
COMPLETED IN 2000 TO CELEBRATE NEW MILLENNIUM
BUILDING DETAILS

 CIRCUMFERENCE: 1 KM

 HEIGHT: 50 M

 MAST: 100 M

 TRANSLUCENT STRUCTURE
 THE ROOF IS MADE OF
EXPOSED TEFLON COVERED
FIBRE GLASS

CENTRAL MAST

SUPPORTING CABLES

DETAIL OF MAST
 Series of illuminated towers
outside the dome to provide
ventilation

Each of the main masts are supported by a

four legged quadrapod
LATE MODERNISTIC SCHEME

 STRUCTURAL EXPRESSIONISM

 BOLDNESS

 TECHNO-ROMANTICISM
LYON – SATOLAS AIRPORT RAILWAY STATION, LYON, FRANCE,
SANTIAGO CALATRAVA, 1989-1994
 TWO CONCRETE
“TONGUES” ARE
CANTILEVERED LIKE
THE PROWS OF SHIPS

• 40 M TALL STEEL AND

CONCRETE STRUCTURE

• BASED ON CONVERGING STEEL

ARCHES
Grande Arche de la Fraternité, Paris- 1989-90
Architect: Johann Otto Von Spreckelsen

People enjoying the view of Grande Arch at La Defense district, Paris

Grande Arche de la Fraternité, Paris- 1989-90
Architect: Johann Otto Von Spreckelsen

- Mainly a government office

building.

- The Plan fills a 100 mt square

Arch is almost a perfect cube
width: 108m, height: 110m,
depth: 112m.

- The structure looks like a

four dimensional hypercube
projected onto the three
dimensional world.
Grande Arche de la Fraternité, Paris- 1989-90
Architect: Johann Otto Von Spreckelsen

- Window to the future

Architecture, keeping the
promise of hope.
- It has a pre-stressed
concrete frame covered with
glass and Carrara marble from
Italy
View from south
- The two sides of the Arche
house government offices.
- The inbetween roof portion
is an exhibition centre.

Window as background for Tensile

Membrane Structure
Grande Arche de la Fraternité, Paris- 1989-90
Architect: Johann Otto Von Spreckelsen

- The vertical structure visible

in the photograph is the lift
scaffolding.

- Impressive views of Paris are

seen from the tube lifts taking
visitors to the roof.

Entrance to the lift for climbing to the top Scaffolding for the lift
Tokyo International Forum, Tokyo - 1996
Architect: Rafael Vinoly

- Important urban landmark for

Tokyo city.

- Essentially a exhibition hall,

conference center.

-it is famous for its swooping

curves

Exterior View of Tokyo International Forum

Tokyo International Forum, Tokyo - 1996
Architect: Rafael Vinoly

Some Interior Views of the Atrium space

Tokyo International Forum, Tokyo - 1996
Architect: Rafael Vinoly

Constructional Details

Interior of Tokyo International Forum