2. PAUL RUDOLPH
BORN : OCTOBER 23,1918
STUDY : - STUDIED UNDER WALTER
GROPIUS AT HARVARD GRADUATE
SCHOOL OF DESIGN ( IN 1940 ).
JOB : IN OFFICE OF K.B.KUERIN.
1940 -1943 .
- SERVED IN U.S. NAVY AS OFFICE
INCHARGE OF SHIP CONSTRUCTION
(1943 -1946).
APPOINTED CHAIRMAN OF SCHOOL
OF ARCHITECTURE AT YALE
UNIVERSITY.
3. DESIGN ERA:
PAUL RUDOLPH'S DESIGN ERA WAS BETWEEN 1951-1962.
RUDOLPH'S SARASOTA TIME IS NOW PART OF THE PERIOD
LABELLED SARASOTA MODERN IN HIS CAREER. IN THE
LATE 1950S, PAUL RUDOLPH'S FLORIDA HOUSES BEGAN TO
ATTRACT ATTENTION OUTSIDE OF THE ARCHITECTURAL
COMMUNITY AND HE STARTED RECEIVING COMMISSIONS
FOR LARGER WORKS SUCH AS THE JEWETT ART CENTRE
AT WELLESLEY COLLEGE. HE THEN TOOK OVER THE HELM
OF THE YALE SCHOOL OF ARCHITECTURE AS ITS DEAN IN
1958, SHORTLY AFTER DESIGNING THE YALE ART AND
ARCHITECTURE BUILDING, OFTEN IS CONSIDERED HIS
MASTERPIECE. RUDOLPH STAYED ON AT YALE FOR SIX
YEARS UNTIL HE RETURNED TO PRIVATE PRACTICE. HE
DESIGNED THE TEMPLE STREET PARKING GARAGE, ALSO
IN NEW HAVEN, IN 1962.
STYLE:
PAUL RUDOLPH’S STYLE IS VERY BLOCK OR SQUARE LIKE
INCORPORATING LARGE AMOUNTS OF BIG GLASS
SCREENS AND MULTIPLE LARGE SQUARE FRAMES FOR
ROOMS AND VIEWING PLATFORMS. INSPIRED BY FRANK
WRIGHT
SPECIFIC WORK:
IN NEW YORK, RUDOLPH COMBINED HIS INTERESTS WITH
THE POTENTIALS OF CELLULAR CONSTRUCTION IN HIS
PROJECT FOR THE GRAPHIC ARTS CENTRE (1967). RUDOLPH
ALSO UNDERTOOK SUCH LARGE COMPLEXES AS THE
BOSTON GOVERNMENT SERVICE CENTRE (1962-1971).
RUDOLPH'S WORK IN THE EARLY 1980S INCLUDED THE
CITY CENTRE TOWERS (19821984) IN FORT WORTH, TEXAS.
RATHER THAN USING THE ROUGH TEXTURE AND
MONUMENTAL APPEARANCE OF HIS MOST COMMON
MATERIAL, CONCRETE, THESE TOWERS HAD STEEL
FRAMES AND GLASS CURTAIN WALLS. RUDOLPH'S LATER
WORK INCLUDED THE HARBOUR ROAD MIXED-USE
STRUCTURE IN HONG KONG, WINNER OF AN
INTERNATIONAL DESIGN COMPETITION (1989), THE CHENG
RESIDENCE AND INSTITUTION HILL CONDOMINIUMS
4. PHILOSOPHY
HE WAS ONE OF THE MOST INFLUENTIAL AMERICAN
ARCHITECT OF MID 20TH
CENTURY CREATING BUILDINGS THAT
WERE OFTEN CHARACTERISED BY BOLDLY CONTRASTING
MASSES , COMPLEXELY INTERLOCKING SPACE AND
INNOVATIVE SURFACES .
IN HIS DESIGN , HE SYNTHESISES THE MODERNICT IDEAS OF LE
CARBUSIER , COMPLEXELY INTERLOCKING SPACES AND
INNOVATIVE SPACES.LARGE GLASS SCREENS .
A DRAMATIC PLAY WITH LIGHT AND SHADOW WAS KEY
PRINCIPLE OF HIS DESIGN .
A SENSE OF TRANSPERANCY THROUGH THE INTERIORS . A
SEAMLESS MERGER OF INSIDE AND OUTSIDE.
DYNAMICITY IS ALSO A MAIN KEY FEATURE OF RUDOLPH’S
ARCHITECTURE.
IN HIS EARLY CAREER HE DEVELOPED A SERIES OF HOSE THAT
REPRESENT MODERNISM , WITH THEIR DISTINCTIVE NATURAL
LANDSCAPE , LOCAL ARCHITECTURAL PRECEDENT AND
EXPLOITATION OF INNOVATIVE CONSTRUCTION MATERIAL.
BUILDINGS OF PAUL RUDOLPH ARE NOTABLE FOR CREATIVITY ,
ABSTRACTION AND UNPREDICTABILITY .
THE MAIN PURPOSE WAS TO CREATE A BUILDING WHICH
STRONGLY APPEALS TO THE SENSE.
5. HIS DESIGNS WERE NOT LIKE GIVE A COLUMN HERE OR GIVE
AN ELEMENT THERE TO INCORPORATE THE BALANCE IN THE
DESIGN . INSTEAD THE ELEMENT WAS THOUGHT EARLIER AND
THEN PRODUCED INTO THE BUILDING.
HE ARGUES THAT MODERN ARCHITECTURE SHOULN’T EFFECT
THE PROPORTIONS OF THE TRADITIONAL ARCHITECTURE AND
SO IS REFLECTED IN HIS DESIGNS.
MATERIALS MOST OFTEN USED BY RUDOLPH
CONCRETE
PLASTIC SHEET FOR FAÇADE
STEEL FIR CONSTRUCTION
GLASS FOR RESIDENCES AND COMMERCIAL FACADES
CATENARY ROOFING
CABLE STRUCTURE
SARASOTA SCHOOL OF ARCHITECTURE
THE YEARS: 1941 TO 1966. THE PLACE: SARASOTA, FLORIDA. THE
STORY: A SUDDEN BURST OF FRESH, INNOVATIVE HOUSES BY A
GROUP OF AMERICANS WHO
CAUGHT THEIMAGINATION OF
THE INTERNATIONAL
ARCHITECTURAL COMMUNITY.
ALTHOUGH THE SARASOTA
SCHOOL WASN'T A
CONSCIOUSLY ORGANIZED
MOVEMENT, IT WAS AN
IMPORTANT CHAPTER IN
AMERICAN MODERNISM THAT,
UNLIKE THE EARLIER BAY AREA
SCHOOL AND CHICAGO SCHOOL,
6. HAS RECEIVED LITTLE STUDY OR PUBLISHED SCHOLARLY
TREATMENT.
• BUILDINGS UNDER THE SARASOTA SCHOOL OF
ARCHITECTURE WERE INFLECTED BY THE CLIMATE . DESIGN
WAS A REGIONAL VARIATION OF MODERN ARCHITECTURE.
• EXPERIMENT WITH THE TECHNOLOGY AND NEW MATERIALS
• ADOPTED BAUHAUS AESTHETIC (SKIN AND BONE ) AS HE
STUDIED UNDER WALTER GROPIUS ., TURN IT BACK ON
HISTORIC PRECENDENTS.]
• SARASOTA MODERN
HOUSES HAVE MINIMAL
PARTITIONS AND
ELEVATE FURNITURE
TO WORK OF ART.
• PIONEERED THE
EXTENSIVE USE OF
GLASS IN HIS HOUSES
AS PER THE WEATHER
OF THE SITE CREATING
HOUSE EFFECTS
DEERING RESIDENCE
• A PLAY OF LIGHT AND
SHADOWS IN INTERIORS.IT
WAS BASED ON POST WAR
OPTIMISM .
• SMOOTH UNORNAMENTED
FACADES INCORPORATING
MINIMALIST
ARCHITECTURE
7. • OPENABLE SLIDING
PANELS AND SCREENS
TOTALLY BLURRING
THE INTERIORS WITH
OUTER ENVIRONMENT
• CATENARY TENSILE
ROOF BUILT IN THE
COCOON HOUSE . THIS
IDEA WAS TAKEN FROM
THE ROOF OF SHIPS AS
HE SERVED IN U.S NAVY
AS AN OFFICE
INCHARGE OF SHIP
CONSTRUCTION .
CATENARY TENSILE
ROOF
FLAT STEEL
)(
JALOUSIE
WINDOW
GLASS WINDOW
AND DOOR
8. YALE
IN JUNE OF 1957, IT WAS ANNOUNCED THAT HE HAD ACCEPTED
THE CHAIRMANSHIP OF THE DEPARTMENT OF ARCHITECTURE
AT YALE UNIVERSITY. DURING HIS YEARS AT YALE HE BEGAN
RECEIVING COMMISSIONS FOR MONUMENTAL STRUCTURES
FROM THROUGHOUT THE NORTHEAST INCLUDING THE ART
AND ARCHITECTURE BUILDING AT YALE, THE GOVERNMENT
SERVICES CENTRE IN BOSTON AND THE SMTI / UMASS
DARTMOUTH CAMPUS. BY THIS TIME HE HAD ADOPTED A
DISTINCTIVE STYLE, MOSTLY IN CONCRETE, THAT DREW FROM
MANY SOURCES INCLUDING FRANK LLOYD WRIGHT, LE
CORBUSIER AS WELL AS HIS OWN PRODIGIOUS IMAGINATION.
YALE SCHOOL OF ARTS AND ARCHITECTURE
ONE OF THE EARLIEST KNOWN EXAMPLES OF THE BRUTALIST
ARCHITECTURE IN AMERICA IS PAUL RUDOLPH’S YALE ART
AND ARCHITECTURE BUILDING IN NEW HAVEN , CONNECTICUT
, AN IMPOSING FORTRESS LIKE BUILDING THAT JUXTAPOSES
MASSES OF TEXTURED CONCRETE WITH LAYERS OF STEEL
FRAMED GLAZING . BRUTALISM HISTORICALLY FREQUENTLY
USED TO BUILD EDUCATIONAL BUILDING, HIGH RISE HOUSING
AND SHOPPING MALLS .
• PRESERVING THE OLD
RUDOLPH ENVISIONED THE
BUILDING AS A TECHNICAL
TOOL , PEPPERING HIS
MODERNIST CASTLE WITH
FRAGMENTS OF HISTORY :
PLASTER CASTS OF ASSYRIAN
RELIEFS AND PARTHENON
FRIEZES, LE CARBUSIER
MODULAR MEASURE ,
ORIGINAL LOUIS SULLIVAN
GATES .
9. HIS SPATIAL
THEATRICALITY
REACHED ITS
CLIMAX IN THE
BUILDING'S
HEART, THE
TWO-STORY
DRAFTING
ROOM,
PRESIDED OVER
BY A MARBLE
ROMAN STATUE
OF THE GODDESS MINERVA
• DOUBLE
HEIGHT SPACES
CREATING A
VISUAL
CONNECTION
BETWEEN
ADJACENT
SPACES.
LINEAR
LIGHTING
SYSTEM
JUXTAPOSES
INTO
VERTICAL
CONCRETE
TEXTURE
10. • BRUTALISM : LIKE EVERY BRUTALISTIC
BUILDING THIS ONE RETAINS ALL THE JOINTS
AND HOLES CAUSED BY THE CASTING OF PLATES
INSIDE, THE COMPLEX FLOOR PLAN IS MADE UP OF 37
TERRACED LEVELS SPACED ACROSS SEVEN MAIN STOREYS
AND TWO BASEMENT FLOORS. EACH LEVEL OVERLOOKS A
CENTRAL ATRIUM THAT FEATURES A SUNKEN PIT AND IS
TOPPED BY A SERIES OF SKYLIGHTS, WHILE NARROW
CONCRETE WALKWAYS CONNECT THE SPACES ON EITHER
SIDE OF THE WELL
THE MAIN ENTRANCE IS SET BACK FROM THE STREET, ACCESSED
THROUGH A CHUTE AND STAIRWELL BETWEEN TWO CONCRETE
COLUMNS. PROJECTIONS ARE OVEREMPHASISED THROUGHOUT.
HEAVY SLABS ARE CROSSED BY THIN SLABS. SPACES INSIDE
CROSS TOO AND OFFER SEQUENCES OF MOST DRAMATIC
EFFECTS BY UNEXPECTED VISTAS INSIDE THE BUILDING AND
EVEN OUT OF IT
11. CROSS COURTYARD AXIS PLAN BY PAUL
RUDOLPH
Hollow RCC Columns
RCC Shear walls
Gwathmey
Siegel’s Addition -
History of Art
Building
Axis
12. • INTERNALLY THE BUILDING IS ORGANIZED
AROUND A CENTRAL CORE SPACE DEFINED BY
FOUR LARGE CONCRETE SLAB COLUMNS THAT,
SIMILAR TO THE EXTERNAL TOWERS, ARE HOLLOW
TO ACCOMMODATE MECHANICAL SERVICES.
• CAST-IN-PLACE CONCRETE [RCC]
• BUSH HAMMERED FINISH TO THE FACE OF THE
EXPOSED CONCRETE
• HIS IDEA OF NOT TO GIVE ELEMENTS HERE
AND THERE JUST TO CREATE BALANCE IS
BEEN SHOWN IN THE SECTION AS THE
HOLLOW COLUMNS USED AS SERVICE AND
STORAGE AREA
COMPLETED IN 1963
THE BUILDING IS
FORMED OF
INTERSECTING
SLABS OF RIBBED
CONCRETE RUN IN
BUSH HAMMERED
CONCRETE
.SMOOTH
CONCRETE AND
GLASS HORIZONTAL
ELEMENTS ARE
SUPPORTED BY A SEQUENCE OF TOWER THAT PROTUDE
ABOVE THE ROOF IN SERIES OF TURRENTS .
.
13. PLAY WITH LEVELS :THE
114000 SF BRUTALIST
BUILDING WHICH IS
CONSTRUCTED OF CAST IN
PLACE CONCRETE HAS A
TOTAL OF 37 DIFFERENT
DIFFERENT LEVELS ON 9
FLOORS TWO BELOW
GRADE AND IS A
CORNERSTONE OF YALE’S
VIBRANT ARTS CAMPUS.
ANOTHER SIMILIAR EXAMPLE OF BRUTALISM BY PAUL
RUDOLPH IN CONCRETE WITH EVEN MORE DYNAMICITY IS
THE ORANGE COUNTY GOVERNMENT CENTER