INTERNATIONAL STYLE

 The International Style is the name of a

major architectural style that is said to have emerged in
the 1920s and 1930s, the formative decades of modern
architecture, with an emphasis more on architectural
style, form and aesthetics than the social aspects of
themodern movement as emphasised in Europe.
 The most common characteristics of International Style
buildings are said to be:
 i. rectilinear forms;
 ii. light, taut plane surfaces that have been
completely stripped of applied ornamentation and
decoration;
 iii. open interior spaces;
 iv. a visually weightless quality engendered by the
use of cantilever construction.
  Glass and steel, in combination with usually less
visible reinforced concrete, are the characteristic
materials of the construction.[1]

 The clean, efficient, geometric qualities of

the style came to form the basis of the
architectural vocabulary of the skyscraper in
the United States in the 1950s and ’60s.
 this skyscrapers became the status symbol of
American cooperate power and
progressiveness at this time
 main features
 steel skeleton
 minimum ornamentation
 flat roof without ledge
 prefabricated parts
 not historicism
 abstract and simple
 favored architecture for office building
 balance and regularity
 bands of glass
 materials used; concrete, glass, steel, ribbon
window, corner window.

CONSTRUCTIVSM
 Constructivist architecture was a form of modern
architecture that flourished in the Soviet Union in the
1920s and early 1930s.
 It combined advanced technology and engineering with
an avowedly Communist social purpose.
 The first and most famous Constructivist architectural
project was the 1919 proposal for the headquarters of
the Comintern in St Petersburg by the Futurist Vladimir
Tatlin, often called Tatlin's Tower. Though it remained
unbuilt, the materials—glass and steel—and its futuristic
ethos and political slant (the movements of its internal
volumes were meant to symbolise revolution and the
dialectic) set the tone for the projects of the 1920s.
 The style combines straight lines and various forms such
as cylinders, squares, rectangles, cubes
 Elements of Constructivst art/architecture are:
  minimal
 geometric
 spatial
 architectonic
 experimental


STURCTURALISM


 Structuralism as a movement in architecture and urban
planning evolved around the middle of the 20th century
 Alternately, as summarized by philosopher Simon
Blackburn, "Structuralism is the belief that phenomena
of human life are not intelligible except through their
interrelations. These relations constitute a structure,
and behind local variations in the surface phenomena
there are constant laws of abstract culture."
  Structuralism is based on the idea that all things are
built from a system of signs and these signs are made up
of opposites: male/female, hot/cold, old/young, etc.
 For Structuralists, design is a process of searching for
the relationship between elements
 . Structuralists are also interested in the social structures
and mental processes that contributed to the design.

FORMALISM

 Formalism is an architectural style that emerged in the

United States during the mid 1950s and flowered in the
1960s.
 Buildings designed in that style exhibited many Classical
elements including "strict symmetrical
elevations"[1] building proportion and scale, Classical
columns, highly stylized entablatures and colonnades.
 The style was used primarily for high-profile cultural,
institutional and civic buildings.
 They were "typically constructed using rich materials
such as marble, granite or man-made composites and
also incorporated certain qualities of concrete that
allowed for the creation of distinctive forms such as
umbrella shells, waffle slabs and folded plates".
 Common features of the New Formalism style, which
was quite often expensive to build, include:
 Use of traditionally rich materials, such as travertine,
marble, and granite or man-made materials that mimic
their luxurious qualities
 Buildings usually set on a podium
 Designed to achieve modern monumentality
 Embraces classical precedents, such as arches,
colonnades, classical columns and entablatures
 Smooth wall surfaces
 Delicacy of details
 Formal landscape; use of pools, fountains, sculpture
within a central plaza
DESERT MODERNISM

 a mid-twentieth century approach to modernism

 capitalized on the sunny skies and warm climate of
southern California and American Southwest
 Rocks, trees, and other landscape features were often
incorporated into the design
 Expansive glass walls and windows
 Dramatic rooflines
 Wide overhangs
 Steel and plastic combined with wood and stone
 Open floor plans
 Outdoor living spaces incorporated into the overall
design

BRUTALISM
 typically massive in character (even when not
large), fortress-like, with a predominance of
exposedconcrete construction, or in the case of the
 "brick brutalists," ruggedly combine
detailed brickwork and concrete .

 . Brutalism became popular for educational buildings

(especially university buildings), but was relatively rare
for corporate projects. Brutalism became favoured for
many government projects, high-rise housing,
and shopping centres to create an architectural image
that communicated strength, functionality, and frank
expression of materiality.
 rugged reinforced concrete construction or Béton Brut
meaning raw concrete
 heavy and angular; can be constructed quickly and
economically
 COMMON FEATURES:
 Precast concrete slabs
 Rough, unfinished surfaces
 Exposed steel beams
 Massive, sculptural shapes
MINIMALISM

 rugged reinforced concrete construction or Béton Brut

meaning raw concrete
 heavy and angular; can be constructed quickly and
economically
 COMMON FEATURES:
 Precast concrete slabs
 Rough, unfinished surfaces
 Exposed steel beams
 Massive, sculptural shapes
 The concept of minimalist architecture is to strip
everything down to its essential quality and achieve
simplicity.[27]
 The idea is not completely without
ornamentation,[28] but that all parts, details and joinery
are considered as reduced to a stage where no one can
remove anything further to improve the design
  The considerations for ‘essences’ are light, form, detail
of material, space, place and human condition.

GUGGENHIEM MUSEUM

 Architect: Frank Lloyd Wright

 concept of the bldg is inverted ziggurat
 It is an art museum of non objective painting situated in
Manhattan
 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. The
building underwent extensive expansion and
renovations in 1992 (when an adjoining tower was built)
and from 2005 to 2008.
 Wright's plan was for the museum guests to ride to the
top of the building by elevator, to descend at a leisurely
pace along the gentle slope of the continuous ramp, and
to view the atrium of the building as the last work of art.
 The open rotunda afforded viewers the unique
possibility of seeing several bays of work on different
levels simultaneously and even to interact with guests
on other levels.
 Wright ascribed a symbolic meaning to the building's
shapes. He explained, "these geometric forms suggest
certain human ideas, moods, sentiments – as for
instance: the circle, infinity; the triangle, structural
unity; the spiral, organic progress; the square, integrity"
 Forms echo one another throughout: oval-shaped
columns, for example, reiterate the geometry of the
fountain. Circularity is the leitmotif, from the rotunda to
the inlaid design of the terrazzo floors
 The building's surface was made out of concrete to
reduce the cost, inferior to the stone finish that Wright
had wanted.
 From the street, the building looks like a white ribbon
curled into a cylindrical stack, wider at the top than the
bottom, displaying nearly all curved surfaces. Its
appearance is in sharp contrast to the typically
rectangular Manhattan buildings that surround it, a fact
relished by Wright, who claimed that his museum would
make the nearby Metropolitan Museum of Art "look like
a Protestant barn."
 Internally, the viewing gallery forms a helical spiral
ramp climbing gently from ground level to the skylight at
the top.
 criticism
 it over shadows the art works
 difficulty in properly hanging the paintings in
shallow windowless exhibition niches that surround
the central spiral
 walls of the niches neither vertical nor flat
 limited spaces within niches means the sculptures
are generally relegated to plinths amid the main
spiral walkway itself
HABITAT '67
 Ar. Moshe Safdie
 principles
 shaping public realm
 architecture with purpose
 responding to the essence of the place
 architecture that is buildable
 bldg responsible
 humanizing mega scale
 Habitat 67, or simply Habitat, is a model community
and housing complex in Montreal, Canada
 Habitat 67 is widely considered an
architectural landmark and one of the most
recognizable and significant buildings in both Montreal
and Canada
 was originally intended as an experimental solution for
high-quality housing in dense urban environments.
 Safdie explored the possibilities of prefabricated
modular units to reduce housing costs and allow for a
new housing typology that could integrate the qualities
of a suburban home into an urban high-rise.
 Habitat ‘67 is really two ideas in one. One is about
prefabrication, and the other is about rethinking
apartment-building design in the new paradigm.”
 Habitat 67 was constructed from 354 identical and
completely prefabricated modules (referred to as
 “boxes”) stacked in various combinations and
connected by steel cables.
 The apartments vary in shape and size, since they are
formed by a group of one to four of the 600 square-
foot “boxes” in different configurations
 Each apartment is reached through a series of
pedestrian streets and bridges, along with three
vertical cores of elevators for the top floors.
 Service and parking facilities are separated from the
tenant’s circulation routes, located on the ground floor.
 The prefabrication process of the 90-ton boxes took
place on-site. The basic modular shape was molded in a
reinforced steel cage, which measured 38 x 17 feet.
 Once cured, the concrete box was transferred to an
assembly line for the insertion of electrical and
mechanical systems, as well as insulation and windows.
 To finalize the production, modular kitchens and
bathrooms were installed, and finally a crane lifted
each unit to its designated position.
 The on-site prefabrication system should have reduced
the cost of production, an integral part of Safdie’s
vision for creating an affordable housing complex.
Unfortunately, due to the reduction of the project’s
mass scale, costs were much higher than expected
 However, though Habitat failed to strike a new wave of
prefabrication, it succeeded in creating a new housing
typology that is both effective and site adaptable.
 By stacking concrete “boxes” in variant geometrical
configurations, Safdie was able to break the traditional
form of orthogonal high rises, locating each box a step
back from its immediate neighbor
 This ingenious method provided each apartment with a
roof garden, a constant flow of fresh air and a
maximum of natural light: qualities which were
unprecedented for a twelve story apartment complex.
 Habitat 67 thus pioneered the integration of two
housing typologies—the suburban garden home and
the economical high-rise apartment building.
SYDNEY OPERA HOUSE
 Inaugurated in 1973, the Sydney Opera House is a great
architectural work of the 20th century that brings
together multiple strands of creativity and innovation in
both architectural form and structural design.
 A great urban sculpture set in a remarkable waterscape,
at the tip of a peninsula projecting into Sydney Harbour,
the building has had an enduring influence on
architecture.
 The Sydney Opera House comprises three groups of
interlocking vaulted ‘shells’ which roof two main
performance halls and a restaurant.
 These shell-structures are set upon a vast platform and
are surrounded by terrace areas that function as
pedestrian concourses.
 In 1957, when the project of the Sydney Opera House
was awarded by an international jury to Danish architect
Jørn Utzon, it marked a radically new approach to
construction.
 Its significance is based on its unparalleled design and
construction; its exceptional engineering achievements
and technological innovation and its position as a world-
famous icon of architecture.
 its construction system is tile clad concrete and pre-cast
concrete
 style- expressionist architecture
 important features are Great stairway, family of forms in
spherical section roofs, pure curving shapes that across
the harbor in great heroic harmony
 Construction of the Sydney Opera House began in
March 1959 after the demolition of the existing Fort
Macquarie Tram Depot. The project was built in three
phases: the foundation and building of the podium
overlooking the Sydney Harbor, the construction of the
outer shells, and the construction of the interior.
 sphere of common dimension was molded and then cut
into smaller shells
 This system permitted each rib to be built up of a
number of standard segments cast in a common mold at
the site.
 In order to achieve this aesthetic the shells are covered
with 1,056,066 ceramic tiles made in Sweden from clay
and crushed stone. Along with the placement of the
tiles, it took eleven years to complete the iconic roof
structure.
 The minor hall, originally intended for stage
productions, was changed to house operas and ballets
and was called the Opera Theatre.
 Grand external staircases lead into the two these two
main auditoriums marking an entrance that visitors are
unlikely to forget. Due to the switch of the main halls,
however, the Opera Theatre is now too small to stage
large opera and ballet productions.
  Three smaller theatres, a library, and a cinema were
also added to the original design along with three
restaurants, six bars, and sixty dressing rooms. The
building has a total of 1000 rooms with access through a
concourse that encircles the entire building and links the
five performance spaces.
 The large exterior glass walls are supported by vertical
steel mullions which extend all the way up the mouth of
the shells
 Bronze glazing bars run from these mullions to help
support the 2000 panes of glass and consists of two
layers of glass joined by an interlayer of plastic in order
to strengthen the windows and provide better sound
insulation.
 the bldg was completed and opened in October 1973
 the complete view of the bldg in viewed only from the
sea
 4.5 acres
 183x120m(at its widest point)

DIFFERENCE BETWEEN OPERA HOUSE AND CONCERT

HALL
 A concert hall is a place where concerts of classical
music take place. “Concert hall” can either mean the
actual room where the concerts takes place, or the
whole building. The hall where the concerts are held
 may have a “stage” (where the performers are) and
there will be an “auditorium” where the audience sits.
 Some concert halls are purpose-built. That means they
were built to be concert halls. Other concert halls may
have been something else many years ago, e.g. a Corn
Exchange (a place where farmers used to sell their corn)
and the building has later been changed into a concert
hall. Purpose-built concert halls started about the
beginning of the 20th century. At that time scientists
began to understand the importance of
good acoustics (somewhere where the sound was
good).
 Concert halls that are purpose-built usually have fixed
seating (seats that cannot be moved). Some halls may
have seats that can be moved, either by stacking them
in small piles, or tiered seating that can fold up. This
allows the hall to be used for other things, e.g. dancing.
 A concert hall is usually a big hall: big enough for
an orchestra to be on the stage. A small concert hall,
designed for just a few performers (as in chamber
music) may be called a “recital hall”.

 An opera house is a theatre building used

for opera performances that consists of a stage,
an orchestra pit, audience seating, and backstage
facilities for costumesand set building. While some
venues are constructed specifically for operas, other
opera houses are part of larger performing arts centers
 An opera house is a building
where operas and ballets are performed. It is similar to
a theatre.
 The first opera houses were built in the 1630s in Italy,
about thirty years after the first operas were written.
Traditionally they have a stage where the action takes
place and a proscenium archway with a curtain that can
be drawn back when the performance begins. In front of
the stage is an orchestra pit which is a little lower than
the stage so that the audience can still see the stage.
The audience sit in the auditorium which is often horse-
shoe shaped. The downstairs seats are called “stalls”.
Round the stalls there are two or three tiers (storeys) of
boxes. Each box can seat a small number of people. At
the top towards the back there is a balcony and often a
gallery along the sides as well. Some seats in the gallery
may have restricted view