Ar. paul rudolph

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POUL RUDOLPH

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Ar. paul rudolph

  1. 1. SUBMITTED TO SUBMITTED BY LUBHANA (1120052) AR. AMANDEEP KHIVA PRIYA (1120060)
  2. 2. PAUL RUDOLPHPAUL RUDOLPH
  3. 3. LIFE PAUL MARVIN RUDOLPH WAS BORN ON OCTOBER 23, 1918 IN ELKTON, KENTUCKY. HIS FATHER WAS A METHODIST MINISTER AND LEAD A MOBILE LIFE. HE EARNED HIS MASTER’S DEGREE IN ARCHITECTURE AT AUBURN UNIVERSITY THEN KNOWNAS ALABAMA POLYTECHNIC INSTITUTE FROM 1935 TO 1940. 1940 -TOOK A JOB IN OFFICE OF K.B.KUERIN. 1940 -1943 - STUDIED UNDER WALTER GROPIUS AT HARVARD GRADUATE SCHOOL OF DESIGN.
  4. 4. 1943 -1946 - SERVED IN U.S. NAVY AS OFFICE INCHARGE OF SHIP CONSTRUCTION. 1946 – 1947 - HE RETURNED TO HARVERD GRADUATE SCHOOL OF DESIGN TO RECEIVE HIS MASTER’S. 1947 – 1951 - HE MOVED TO SARASOTA, FLORIDA AND PATNERED WITH RALPH TWITCHELL FOR FOUR YEARS. 1951 - HE STARTED HIS OWN PRACTICE. 1954 - HE RECEIVED “THE OUTSTANDING YOUNG ARCHITECT” TITLE AT INTERNATIONAL FUNCTION. 1958 -1965 - APPOINTED CHAIRMAN OF SCHOOL OF ARCHITECTURE AT YALE UNIVERSITY.
  5. 5. 1958 - NOTABLE FOR ITS APPERANCE IN THE BOOK, MASTERS OF MODERN ARCHITECTURE. 1947 -HE DIED IN NEW YORK CITY FROM MESOTHELIOMA AUGUST ,8, 1997.
  6. 6. PHILOSPHY PAUL RUDOLPH,ONE OF THE 20TH CENTURY’S MOST ICONOCLASTIC. HE WAS ONE OF THE MOST INFLUENTIAL AMERICAN ARCHITECTS OF MID 20TH CENTURY CREATINHG BUILDINGS THAT WERE OFTEN CHARACTERIZED BY BOLDLY CONTRASTING MASSES, COMPLEXLY INTERLOCKING SPACES & INNOVATIVE SURFACES. IN HIS DESIGN, HE SYNTHESIS THE MODERNICT IDEAS OF LE- CORBUSIER,F.L.WRIGHT,LOUIS I.KAHN. HE USES SWEEPING MONOLITHIC FORMS & INTRICATE INTERIOR SPACE TO CREATE A POWERFUL SCULPTURAL QUALITY.
  7. 7. IN HIS EARLY CAREER HE DEVELOPED A SERIES OF HOSE THAT REPRESENT MODERNISM,WITH THEIR DISTINCTIVE NATURAL LANDSCAPE,LOCAL ARCHITECTURAL PRECEDENT & EXPLOITATION OF INNOVATIVE CONSTRUCTION MATERIALS. HE USES SWEEPING MONOLITHIC FORMS & INTRICATE INTERIOR SPACE TO CREATE A POWERFUL SCULPTURAL QUALITY. IN HIS EARLY CAREER HE DEVELOPED A SERIES OF HOSE THAT REPRESENT MODERNISM,WITH THEIR DISTINCTIVE NATURAL LANDSCAPE,LOCAL ARCHITECTURAL PRECEDENT & EXPLOITATION OF INNOVATIVE CONSTRUCTION MATERIALS.
  8. 8. ABOUT DESIGN DESIGN BEGINS WITH A QUESTION AND ENDS WITH RESULT. IN BETWEEN IS A CREATIVE PROCESS. DESIGN PRINCIPLES MAY BE APPLIED TO ANY SITUATION WHERE THERE IS A GOAL. DESIGN IS A PROCESS WITH MANY APPLICATION. HIS BUILDINGS ARE NOTABLE FOR CREATIVE & UNPREDICTABLE DESIGN THAT APPEAL STRONGLY TO SENSE. THE INTERIOR ARE DYNAMIC, PLAYING WITH LIGHT & SHADOW, DRAMA & ABSTACTION.
  9. 9. HEALY GUEST HOUSE BUILDING: HEALY GUEST HOUSE ARCHITECT: PAUL RUDOLPH, RALPH TWITCHELL TIME-PERIOD: 1948-1949 LOCATION: FLORIDA(U.S.A) CLIMATE: WARM CONSTRUCTION TYPE: POST AND BEAM WITH CATENARY TENSILE ROOF STYLE:MODERN CONTEXT: WATER-FRONT
  10. 10. HEALY GUEST HOUSE IS A WONDERFUL EXAMPLE OF RUDOLPH’S INNOVATIVENESS WHICH GAVE CREDENCE TO MODERN MOVEMENTS INTERPRETATION OF SPACE, FORM AND LIGHT HEALY GUEST HOUSE IS INNOVATIVE DESIGN WHICH INCLUDED A LOW SLUNG CATENARY ROOF SUPPORTED BY SUSPENDED CABLES AND WALLS CONSTRUCTION OF LOUVERED WOOD AND FIXED GLASS. HEALY GUEST HOUSE IS SMALL ONLY 735 SQ.FT AREA. THE PLAN IS RECTANGULAR WITH A PORCH AND A BALCONY ON RIVER SIDE.
  11. 11. RUDOLPH USED PILED SUPPORT TO ALLOW THE BASE TO EXTEND OVER WATER ABOVE THE CONCRETE FOUNDATION, GIVING APPEARANCE OF FLOATING ON WATER IT CLAIM THAT IT SHOULD HAVE BEEN DESIGNED AS SINGLE VOLUME BUT FOUR SEP[ERATE SPACE ARE PROVIDED UNDER CONCAVE BUILDING
  12. 12. HEALY GUEST HOUSE
  13. 13. THE PLAN IS RECTANGULAR WITH A PORCH AND A BALCONY ON RIVER SIDE. RUDOLPH USED PILED SUPPORT TO ALLOW THE BASE TO EXTEND OVER WATER ABOVE THE CONCRETE FOUNDATION, GIVING APPEARANCE OF FLOATING ON WATER IT CLAIM THAT IT SHOULD HAVE BEEN DESIGNED AS SINGLE VOLUME BUT FOUR SEPERATE SPACE ARE PROVIDED UNDER CONCAVE BUILDING.
  14. 14. CATENARY ROOF THE ROOF IS INTERESTING: A SIMPLE CATERNARY ROOF SPANNING 22 FT. WAS DEVELOPED, USING FLAT STEEL BARS 12 INCH. CENTRES, SPANNING POST AND BEAM CONSTRUCTION OF FLANKING SIDES. THE ROOF WAS CONCAVE IN ORDER TO ALLOW RAINWATER TO DRAIN OFF.
  15. 15. PICTURE SHOWING CATENARY TENSILE ROOF
  16. 16. MATERIALS HE USED A TENT-LIKE FABRIC SPRAYED WITH SARAN VINYL PLASTIC TO PREVENT WATER SEEPAGE. THE USE OF THIS MATERIAL RESULTED IN THIS STRUCTURE BEING REFFERED TO AS COCOON HOUSE HANGING CATENARY ROOF MADE UP OF PLASTIC SHEET. RUDOLPH USED JALOUSIE WINDOWS WHICH ENABLED THE BREEZE TO FLOW INTO HOUSE
  17. 17. SHOWING JALOUSIE WINDOWS • BALCONY FACING SEA SIDE
  18. 18. JALOUSIE WINDOW A SLATTED WINDOW COVERING, TYPICALLY A SHUTTER OR WINDOW COVERING WHICH CONSIST OF A SET OF PARALLEL ANGLE SLATS. THESE SLATS CAN BE OPEN VARIOUSLY SO AS TO CONTROL THE AMOUNT OF AIR OR LIGHT ALLOWED TO PASS THROUGH . A WINDOW HAS OVERLAPPING GLASS SLATS WHICH OPEN TO ALLOW VENTILATION. THIS KIND OF WINDOW IS GOOD FOR SUN PORCHES THAT ARE NOT AIR- CONDITIONED.
  19. 19. JALOUSIE WINDOWS WITH OVERLAPPING GLASS -THAT IS ANGLE SLATS TO CONTROL AMOUNT OF AIR AND LIGHT
  20. 20. BUILDING: MILAM HOUSE ARCHITECT: PAUL RUDOLPH TIME-PERIOD: 1960-1962 LOCATION: JACKONVILLE,FLORIDA (U.S.A) BUILDING TYPE: SINGLE FAMILY HOUSE CONSTRUCTION TYPE: CONCRETE CORE SIMPLE STRUCTURE EXPOSED CONCRETE FACADE
  21. 21. PAUL RUDOLPH, A MASTERFUL FORM-GIVER AND PRODUCED EYE-POPPING MILAM HOUSE. ITS CUBISTIC FORMS DID NOT DEPENDS ON LONG-SPAN, BUT GENERATED ENORMOUS SCULPTURAL INTERSET. USING THE SIMPLEST MATERIALS: FLAT SLAB AND CONCRETE BLOCK. VIGOROUS MANIPULATION OF SPACE. THE EXTERIOR OF THE HOUSE IS DOMINATED BY POWERFUL COMPOSITION OF RECTANGLES FORMING A SUNSHADE ACROSS THE REAR FACADE. THE SPIRIT OF THIS WALL IS CONTINUED ON TO THE INTERIOR OF THE HOUSE,WHERE FLOORS ARE ARRANGED ON SEVEN DIFFERENT LEVELS.
  22. 22. SECTION THROUGH REAR FACADE SHOWING LIVING,BEDROOMS FACING TOWARDS SEA AND SECTION CLEARLY SHOWING DIFFERENT LEVELS. • REAR FACADE
  23. 23. EXTERNALLY,IT IS BEAUTIFUL PIECE OF SCULPTURE BLENDED GRACIOUSLY WITH SEA AND SAND SURROUNING IT. IT IS VERY COMFORTING INSIDE,DIFFERENT CEILING HEIGHTS,DIFFERENT VIEWS, DIFFERENT FLOOR LEVELS MAKE IT INTERESTING AND VARIED. ALL LIVING AREAS AREA ESSENTIALLY ONE ROOM WITH AREAS OF DINING,SITTING BY FIREPLACE, CREATED PRINCIPALLY BY CHANGES IN FLOOR LEVELS. THE HALLWAY LINKING UPSTAIRS BEDROOMS IS TREATED AS A BALCONY AND ADDS YET ANOTHER LEVEL.
  24. 24. BIG LIVING AREAS ARE MADE TO APPEAR EVEN LARGER AND MORE OPEN BY USING VERY FEW PIECES OF PORTABLE FURNITURE.
  25. 25. THE HOUSE IS CONSTRUCTED OF SAND STONE CONCRETE BLOCK, LEFT EXPOSED INSIDE AND OUT. THE MAIN FLOOR IS TERRAZZO, AND SECOND FLOOR ARE HARDWOOD OR CARPET,EXCEPT TILES IN BATHROOMS. CEILING ARE ACOUSTICAL PLASTER FOR NOISE ABSORPTION IN BIG AREAS. ONE OF THE BATHS ALSO HAS AN OUTSIDE EXIT AND STAIRS TO SERVE AS DRESSING AREA FOR SWIMMERS FROM BEACH. THE ENTIRE HOUSE IS AIR-CONDITIONED.
  26. 26. THE KITCHEN IS CONVENIENTLY PLACED FOR ACCESS TO LIVING AND DINING AREAS, TO GARAGE FOR UNLOADING GROCERIES. THE COST OF HOUSE ITSELF WAS ABOUT $88,074.
  27. 27. ART AND ARCHITECTURE BUILDING ARCHITECT - PAUL RUDOLPH LOCATION - NEW HAVEN, CONNECTICUT DATE - 1959 TO 1963 BUILDING TYPE - UNIVERSITY BUILDING, ARCHITECTURE SCHOOL. CONSTRUCTION SYSTEM – CONCRETE CLIMATE - TEMPERATE CONTEXT - URBAN CAMPUS STYLE - MODERN
  28. 28. VIEW OF BUILDING
  29. 29. PLANNING THE DRAMATIC ENTRANCE TO THE BUILDING IS UP A NARROW FLIGHT OF STEPS THAT PENETRATE DEEPLY INTO THE MESS OF THE MAIN VOLUME. FUTURE EXTENSION OF THE BUILDING WILL SIMPLY CONNECT TO THIS. THIRTY SEVEN CHANGES OF LEVELS ACCOMODATEFUNCTIONAL AND CIRCULATION AREAS, AND CIRCULATION AREAS , AND SINCE WALLS ARE DE EMPHASIZED THESE LEVELS ARE DEFINED PRINCIPALLY BY FLOOR AND CEILING PLANS.
  30. 30. PLAN 1. LIBRARIAN OFFICE 2. READING AREA 3 LIBRARY 4 LIFTS 5 TOILETS 6 ARCHITECTS ARCHIVES 7 STUDIO 8 ENTRANCE 1 2 3 4 5 6 7 8
  31. 31. VIEW OF ENTRANCE
  32. 32. IN THIS BUILDING, RUDOLPH CONCERNED WITH THE DRAMA OF NATURAL LIGHTING. THIS IS A IMPORTANT CHARACTER IN THE DESIGN OF THE BUILDING, AS IT CONTRIBUTES TO THE CHANGING CHARACTER AND PSYCHOLOGICAL IMPLICATION OF SPACE. BUILDING HAS TOTAL NINE FLOORS WHICH INCLUDES TWO BASEMENT FLOORS. THE BUILDING IS ORGANISED AROUND A CENTRAL CORE SPACE DEFINED BY FOUR LARGE CONCRETE SLAB COLUMNS THAT, SIMILAR TO THE EXTERNAL TOWERS, ARE HOLLOW TO ACCOMMODATE MECHANICAL SERVICES.
  33. 33. ON TWO SUNKEN LEVELS, SCULPTURE AND BASIC DESIGN STUDIOS ENCIRCLE A CENTRAL AUDITORIUM, THE APPROACH TO WHICH OBSURE. AT STREET LEVEL, THE LIBRARY OCCUPIES A SINGLE STOREY SIDE. ABOVE THIS, WITH THE POSSIBILITY OF LOOKING DOWN INTO THE READING AREA, IS A TWO STORY EXHIBITION HALL, WITH ADMINISTRATIVE OFFICES ON ITS MEZZANINE, AND A CENTRAL, SUNKEN JURY PIT.
  34. 34. FOURTH LEVEL IS THE MOST DRAMATIC SPACE: AN ARCHITECTURAL ZONE ON FIVE LEVELS, EACH CONNECTED BY FEW STEPS, AN ELEMENT IN A PART OF THE GREATER SPACE, ABOVE WHICH RUN TWO PARALLEL MEZZANINES SPANNED BY A CHANNEL SHAPED BRIDGE. BETWEEN THE FOUR PIERS TWO SKYLIGHTS RISE AS GIANT CLERSTORIES, INTENSIFYING NATURAL LIGHT IN THE CENTRE OF THE SPACE THAT RECEIVES IT ON ALL FOUR SIDES THROUGH PERIPHERALGLAZING. PAINTING AND GRAPHIC ART STUDIOS ARE ON THE TOP TWO LEVELS, WITH AN OPEN TERRACE FOR SKETCHING.
  35. 35. FINALLY, THERE IS A PENTHOUSE APARTMENT FOR GUEST CRITICS, THAT ALSO HAS ITS OWN TERRACE. THE TREATMENT FOR EXPOSED CONCRETE SURFACE BY POURING CONCRETE INTO VERTICALLY RIBBED WOOD FORMS, THAT ARE STRIPPED AWAY, AND EDGES HAND HAMMERED TO EXPOSE THE AGGREGRATE, IS DONE BECAUSE APART FROM BEING AN INTERESTING SURFACE, IT CONTROLS STAINING AND MINIMIZES THE EFFECT OF DISCOLORATION INHERENT IN CONCRETE.
  36. 36. EXPOSED AGGREGRATE AND STRAINED CONCRETE
  37. 37. SECTIONAL PERSPECTIVE View
  38. 38. THE VERTICALLY STRAITED CONCRETE RIBBING
  39. 39. PART OF DRAFTING STUDIO
  40. 40. BOSTON GOVT. SERVICE CENTRE BUILDING TYPE - OFFICE BUILDING ARCHITECTS - PAUL RUDOLPH, DESMOND AND LORD ARCHITECTS, PEDERSEN AND TILNEY, M.A.DYER LOCATION - BOSTON TIME PERIOD - 1967-1972 (PLANNING AND CONSTRUCTION
  41. 41. VIEW OF BOSTON GOVT. SERVICE CENTRE
  42. 42. THE LOW BUILDINGS HAVE A PEDESTRAIN COURTS OF SMALL SCALE. THE SCALE OF STREET FAÇADE IS MUCH GREATER BECAUSE OF AUTOMOBILES. REGULAR BAYS AT THE STREET WITH COLUMNS 60 TO 70 FT. IN HEIGHT HAVE BEEN UTILIZED. THE MULTI STOREY BUILDING ACT AS A PIVOTING POINT AT THE ENTRY TO THE PLAZA AND SERVE AS ITS PRINCIPAL SPATIAL ELEMENT MATERIAL USED FOR THIS BUILDING IS CONCRETE.
  43. 43. The Building Occupies most of a large Superblock created when Boston’s old  West End was destroyed in the name Of urban renewal. The area was formely Crisscrossed by narrow streets . Though the building is very large , it is unfinished Courtyard area was landscaped and features such as stairways ,an elevator , a wheel chair acess ramp were added ``
  44. 44. DESCRIPTION ONE OF RUDOLPH’S WORK AMBITIONIERTESTEN. THE COMPLEX CONSISTS OF STATE HEALTH, EDUCATION AND WELFARE SERVICE CENTRE. THE SPACE OF BOSTON’S IRREGULAR STREETS BEEN DEFINED BY PLACING BUILDINGS PARALLEL TO THEM. ALL BUILDING ENTRANCE IS THROUGH A PEDESTRIAN COURTYARD. ALL THE BUILDING WHICH ARE PARALLEL TO STRRET HAVE BEEN 5 TO 7 STOREYS HIGH.
  45. 45. PLAN LEADING TO UNDER GROUND PARKING
  46. 46. PLAN OF STANDARD FLOOR
  47. 47. URBAN SITE PLAN 1 STATE SERVICE CENTRE 2 PRIVATE OFFICE AND COMMERCIAL BUILDING 3 GARAGE FOR 2000 CARS 4 FEDERAL OFFICE BUILDING 5 CITY HALL AND PLAZA
  48. 48. THANKS….

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