Late Modernism encompasses the overall production of most recent architecture made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences. Late Modernism, also known as High-tech architecture or Structural Expressionism, is an architectural style that emerged in the late 80s, this style became a bridge between modernism and postmodernism. Architecture in which the images, ideas, and motifs of the Modern Movement were taken to extremes, structure, technology, and services being grossly over stated at a time when Modernism was being questioned. In the year 1980s the high tech architecture started to look different from the post modern architecture. Many of the themes and ideas which originated during the post modern times were added to the high tech architecture. Modern architecture is primarily driven by technological and engineering developments, and it is true that the availability o f new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution.

1. LATE MODERNISM
HABIB REHMAN | CHRISTOPHER CHARLES BENNINGER | KARAN GROVAR
HISTORY OF ARCHITECTURE 6

2. • Late Modernism encompasses the overall production of most recent architecture made between the aftermath of
World War II and the early years of the 21st century. The terminology often points to similarities between late
modernism and post-modernism although there are differences.
• Late Modernism, also known as High-tech architecture or Structural Expressionism, is an architectural style that
emerged in the late 80s, this style became a bridge between modernism and postmodernism.
• Architecture in which the images, ideas, and motifs of the Modern Movement were taken to extremes, structure,
technology, and services being grossly over stated at a time when Modernism was being questioned.
• In the year 1980s the high tech architecture started to look different from the post modern architecture. Many of the
themes and ideas which originated during the post modern times were added to the high tech architecture.
• Modern architecture is primarily driven by technological and engineering developments, and it is true that the
availability o f new building materials such as iron, steel, and glass drove the invention of new building techniques as
part of the Industrial Revolution.
LATE MODERNISM

3. CHRISTOPHER
CHARLES BENNINGER

4. CHRISTOPHER CHARLES BENNINGER
Introduction
• Christopher Charles Benninger is an American-Indian architect and planner.
• Born in Hamilton, Ohio in 1942.
• He studied urban planning at the Massachusetts Institute of Technology and
architecture at Harvard's Graduate School of Design, where he later taught
(1969–72).
Philosophy
To gain something beautiful, one may have to give up
something beautiful.

6. PRINCIPLES
• Use materials in their natural form: Honesty in Expression.
• Use human scale as your measuring stick: Humanism.
• Integrate structures with their contexts assessing what is positive and what is negative in the context:
Critical Regionalism.
• Draw elements from the local vernacular: Balance with Tradition.
• Create public domains and convivial spaces: Balance with Community.
• Bring the natural landscape into the buildings and the buildings into the natural landscape: Balance
with Nature.
• Use materials which are fabricated within a 100-kilometre radius of the site, and which the local
labour force is comfortable in working with: Appropriate Technology.
• Make the pedestrian the king and the vehicle the servant: Separate out all machine movement from
within the campus, or urban neighbourhood. Putting People First.
• Draw one’s proportions from the nearby physical features and find order from the landscape: Organic

7. SAMUNDRA INSTITUTE
OF
MARITIME STUDIES
MUMBAI

8. • The campus, which was completed in
2007, houses 480 cadets.
• Photovoltaic cells, both translucent and
opaque, become modern-day Indian
‘jaalis,’ allowing natural light while
blocking heat.
• The three hundred feet long photovoltaic
solar wall in the Maritime Workshop
produces 60 KW of electricity.
• Clear glass on the north façade brings in
natural light, giving the testing equipment
and machinery all-round, energy free
illumination and ventilation.
• The Administration Building cleverly
exploits northern light through its wavy
glass atrium wall, while generating
electricity through the grand photovoltaic
south-facing façade that produces 30 KW
CONCEPT
Area : 21,500 sqm

10. Assembly
Hall

12. Administrati
on

14. Classrooms

16. Workshop

18. Hostel

20. SUZLON ONE EARTH
PUNE

21. CONCEPT
Area : 10.5 acres
• Suzlon Energy Limited, pledged to create the greenest office in India.
• Living the motto of the company, ‘powering a greener tomorrow’, the architect relied exclusively on non-toxic and
recycled materials.
• It has become the need of the hour for global corporations to have sensitively designed buildings which reflect
their values, concerns for environment and the image of the new age.
• It derives its inspiration from large Indian historical campuses like Fatehpur Sikri and the Meenakshi Temple
complex in Madurai.
• This took the shape of a Land Scraper, opposing the idea of a Skyscraper! It is a counter blast to “the glass box.”
• A series of served and server spaces were created to adopt to the transformational nature of the business over
the years.
• The Served Spaces cover the lion’s share of the campus where people work that can accommodate modular
walls and furniture systems.

27. • These are served by more rigid cores that house wet areas, utility
shafts, ducts, fire stairs, elevators, entry and reception areas that will
not change over time.
• “Modules” like the silo fire stairs; the benchmark glass cylinders and
the 8.4 by 8.4 meter modules that can be used like a Lego Set and
moved about in one’s mind to create internal and external spaces.

28. • Aluminum louvers act as a protective skin allowing daylight and cross ventilation.

29. • The design process started with a premise of creating a central gathering space, or Brahmasthan, with the sky as
its ceiling! There is visual access to the large central gardens from everywhere. There is a sense of connection
between the various kinds of spaces right from the underground entries vide the sunlight that descends there from
the Sky Courts and the Glass Cylinders and the vegetation that flows from these elements, up through the
cylinders into the main circulation nodes of the building

30. • Aluminum louvers act as a protective skin allowing daylight and cross ventilation. All areas have operable
fenestration allowing natural air and ventilation when possible. These strategies resulted in lower, thinner and
longer building shapes that increase the ratio of fenestration to volume, enhancing natural light and ventilation
in a hot and dry climatic conditions

33. “Architecture is a curious craft”

34. HABIB REHMAN
( 1915 – 1995 )

35. • Habib Rahman - One of the first
generation architects to bring in
Modernism to India
• 1950s – Post Independence – Political
change, cultural ethos of India.
• Habib Rahmn introduced the Bauhaus
style in the Indian context.
He used Indian architectural elements
• Jalis
• Chajjas
• Dome
• Overhanging roof
INTRODUCTIO
N

36. • A tower – A simplified profile of a temple shikhara, capped with an Islamic Dome and a horizontal projecting
cantilevered slab projecting from from both sides appearing in silhouette somewhat like a cross which the ghat
steps descend to the river.
• Column and cantilever – INSPIRED BY F.L. WRIGHT
GANDHI GHAT
KOLKATA

37. UGC BUILDING
NEW DELHI

38. Rahman was inspired from the Bauhaus ideology and building forms;
hence, the UGC building is much like a box shape in overall form
Being a Modernist building, it was designed for a functional purpose
(classification of spaces being rational)
Rahman broke the building into blocks, to fit the site.
Being true to his modernist roots, he used R.C.C framed structure
the grid was simple and thus, the linear form
The columns are either visible as ribs or are free standing. Free standing
columns are rectangular In shape with semi circular ends giving the illusion of
slenderness-heavy structure resting on very little support
CONCEPT

40. The facades were divided into horizontal chajjas n vertical
louvers - almost like a skin protecting the building
Rather than using the same articulation on back façade of the
building, he provided two continuous overhangs on the
windows- this expression was something new that any architect had
used during that time - this would protect rooms from direct sunlight
and also help cut down the heat load on ac system
Not much ornamentation is done except the use
of concrete jaali. Rather than going overboard
with it, Rahman has used very limited amount of
this expression at few places - end of corridors
and at the ground floor parking of the North wing

41. • The projected slabs and void space creates floating effect on the ground floor

42. RABINDRA BHAWAN
NEW DELHI

43. EXHIBITION
GALLERY
ADMINISTRATIVE
BLOCK
THEATRE
The building is divided into three major blocks- administrative building,
exhibition gallery and theatre. The administrative block, which is the
biggest of all, occupies prominent amount of space on the site. The
architects vision was to make a bold statement and hold itself on the huge
site- hence the monumental scale of the block.
The Y - shape is chosen very thoughtfully to cover the maximum
area on the site. Not only that, the shape of the block creates
different sizes of pockets where other two blocks are Placed.
Unlike other modernists, who tried to
design their building like a piece of
art and created large open spaces to
view the building, Rahman broke his
building into different blocks to create
gali-like greets – which he borrowed
from Indian architecture.

46. Reinterpreted form of chajjas in continuous horizontal louvers.
Image showing rows of continous chajjas , where
the louvered rows are placed on cantilievered
brackets

47. “A building becomes architecture when it not only
works effectively but moves the human soul.”

48. KARAN GROVAR

49. With a Degree in Architecture from Maharaja Sayajirao University of Baroda and a Graduate
diploma from Architectural Association, London Architect Karan Grovar has concentrated on
modern designs with traditional techniques of energy efficiency.
Major Projects:
• Goa Assembly Building at Porvorim, Goa, 1993-2002.
• CII-Sohrabji Godrej Green Business Centre, Hyderabad, LEED Platinum rated building by
USGBC, 2002–2003
• District Office Complex at Bagalkot for Government of Karnataka, 2003-06
• Institute of Quality for Confederation of Indian Industry, Bangalore using Passive Dow n-Draft
Evaporative Cooling (PDEC) system, 2000–2001
• Synthesis Business Park, Rajarhat, Kolkata for Bengal Shrachi Housing Development, sought
for LEED Platinum rating of US-GBC, execution stage, 2005–2008
• Minestone Diamond Processing Unit at Navsari, sought for LEED Gold Rating, 2005–2008
INTRODUCTIO
N

50. DESIGN PRINCIPLES
Technology, Tradition and Design:
• Passive strategies and design is crucial for every building, new technologies are there to
support, but not to replace passive strategies.
Green Community and Collective Benefit
• Look at the orientation of the building. Make sure that smaller surfaces are facing east and
west.
• Design buffer zones on east and west facades like verandas, equipment rooms and
staircases.
• Integrate screens to allow natural ventilation and cross ventilation to cool the building.
• Design inclined windows on the south façade to avoid direct sun radiation on the windows.
• Try to avoid any openings like windows on the east and west.
• Use ceilings which reflect the natural light and bring it deep into the room.
• Use green roofs and green walls.
• Design rainwater harvesting pits to collect all rainwater from the site

51. SOHRABJI GODREJ GREEN BUSINESS CENTRE
HYDERABAD

52. • Economical
• Energy-saving
• Environmentally-friendly
• Sustainable development.
• Sohrabji Godrej Green Business
Centre in Hyderabad is a
commercial building which consists
of office buildings, research labs
and conference rooms
INTRODUCTIO
N

53. • Central courtyard.
• Roof garden - Protects heat penetration, cuts
down heat-island effect
• High performance glazing to bring in natural
light while minimizing heat ingress.
• Usage of light glazing and vision glazing.
• Jali (Perforated) wall for bringing in natural
light as well as ventilation .
• Energy saving system.
ENTRANCE
CAFETERIA
COURTYARD
RESEARCH CENTRE
OFFICE
RESEARCH CENTRE

55. COURTYARDS

56. ROOF GARDENS

57. NATURAL LIGHTING

58. Jallis or Lattice walls are used to prevent glare and heat gain while ensuring adequate day
lighting and views. The jalli, used in many historic buildings such as the Taj Mahal, gives
definition and an aesthetic appeal to a space.
USE OF TRADITIONAL MATERIALS

59. SYNTHESIS
BUSINESS PARK
HYDERABAD

60. INTRODUCTION
Total Built up area - 4.7 lac sq.ft.(approx)
Building Height – 51.6 meters
Building – B+G+11 storied
Floor plate - 35,000 to 45,000 sq. ft. (approx)
Floor to floor height – 4.2 meters
Car Parking Ratio – 1:1000 Sq.Ft
IBMS ( Intelligent building management system.)
 Air Conditioning and Mechanical Ventilation
 Sewerage Treatment
 Fire Fighting, Fire Detection & PA System
 Facade Glazing
100 % DG Power Back up

61. Entrance
Lobby
with 4 Lifts
Service stairs,
Toilet,
Pantry, AHU,
Service Lifts

62. “In twenty years, a green building in India will
reflect the Indian culture much better than these
days where we are striving towards modern
buildings copied from the West.”

63. THANK YOU !!!
DHIR DHWAJ SINGH | GAURAV KUMAR | PRIYAVARTH SINGH
STATE INSTITUTE OF URBAN PLANNING AND ARCHITECTURE
1304009 1304012 1304026