The document discusses deconstructivism, a post-modern architectural movement that emerged in the late 1980s, characterized by fragmented forms and a rejection of traditional architectural conventions. It explores influential architects like Zaha Hadid and Rem Koolhaas, highlighting their unique designs and concepts such as Hadid's gravity-defying structures and Koolhaas's innovative use of materials. Additionally, specific projects like the MAXXI Museum and the Serpentine Pavilion are examined to illustrate the principles and impact of deconstructivism in contemporary architecture.

1. DECONSTRUCTIVISM AND
CRITICAL REGIONALISM
Submitted By-
Abhiniti Garg
Anurag Kamal
Manisha Jain
Navdha Kabra

2. DECONSTRUCTIVISM
• It is a development in POST-MODERNISM that started in late 1980s.
• It views architecture in bits and pieces.
• It has no visual logic.
• Buildings may appear to be made of abstract forms.
• The idea was to develop buildings which show how differently from
traditional architectural conventions buildings can be built without
loosing their utility and still complying with the fundamental laws of
physics.
• The ideas were borrowed from the French philosopher, Jacques
Derrida.
• Architects involved –
– Zaha Hadid
– Bernhard Tschumi
– Rem Koolhaas

3. GENERAL CHARACTERISTICS OF
DECONSTRUCTIVISM
• Explodes architectural form into loose collections of related fragments.
• Destroys the dominance of the right angle and the cube by using the
diagonal line.
• Uses ideas and images from Russian Revolutionary architecture and
design.
• Provokes shock, uncertainty, unease, disquiet, disruption, distortion by
challenging familiar ideas about space, order and regularity in the
environment.
• Rejects the idea of the `perfect form for a particular activity and rejects
the familiar relationship between certain forms and certain activities.
• Two strains of modern art, minimalism and cubism, have had an influence
on deconstructivism.
• Analytical cubism also had effect on deconstructivism, as forms and
content are dissected and viewed from different perspectives
simultaneously.
• It also often shares with minimalism notions of conceptual art.

4. Zaha Hadid
• At the age of eleven in her native
Iraq, Zaha Hadid (b.1950) decided to
be an architect.
• “We can’t carry on as cake
decorators and do these nostalgic
buildings that have an intense
degree of cuteness; we have to take
on the task of investigating
modernity,” Hadid told an
interviewer.
• Her style is Deconstructivism
(breaking architecture, displacement
and distortion, leaving the vertical
and the horizontal, using rotations
on small, sharp angles, breaks up
structures apparent chaos)
• Using light volumes, sharp, angular
forms, the play of light and the
integration of the buildings with the
landscape.

5. CONCEPT
• GRAVITY-DEFYING
• FRAGMENTARY
• REVOLUTIONARY
• A MAIN THEME OF HADIDS DESIGNS EXHIBITS
THAT A BUILDING CAN FLOAT AND DEFY
GRAVITY.

6. Museum of Art, XXI (MAXXI), Rome,Italy
• MAXXI, ROME MAXXI stands for ‘Museo nazionale
delle arti del XXI secolo’ (National Museum of 21st
Century Art). The museum will become the joint
home of the MAXXI Arts and MAXXI Architecture
and Italy’s first national museum solely dedicated
to contemporary arts.
• MAXXI was also the winner of the RIBA Stirling
Prize for the greatest contribution to British
architecture in 2010
• The MAXXI’s 27,000 sq m contain – in addition to
the two museums – an auditorium, a library and
media library, a bookshop, a cafeteria, temporary
exhibition spaces, various open spaces for live
events, commercial activities, workshops and
spaces of study and recreation.

8. • The building is a composition of
bending oblong tubes,
overlapping, intersecting and
piling over each other,
resembling a piece of massive
transport infrastructure.
• It acts as a tie between the
geometrical elements already
present. It is built on the site of
old army barracks between the
river tiber and via guido reni,
the centre is made up of spaces
that flow freely and
unexpectedly between interior
and exterior, where walls twist
to become floors or ceilings.
• The building absorbs the
landscape structures,
dynamizes them and gives them
back to the urban environment.

9. • The two museums – MAXXI Art and MAXXI
Architecture – rotate around a large, double
storey atrium, the point of connection with the
permanent collection galleries and temporary
exhibition spaces, the auditorium, reception
area, cafeteria and bookshop. Outside, a
pedestrian path follows the shape of the
building, slipping under its cantilevered volumes
and restoring an urban connection interrupted
for almost a century by the former military
structure.
• In opposition to the decisive architectural sign
that dominates the exterior spaces and the
atrium, a more sober spatial quality characterises
the exhibition halls that host the collections of
the two museums. A combination of glass (roof),
steel (stairs and columns) and concrete (walls)
defines the neutral appearance of the display
spaces, while moveable panels ensure the
flexibility of their use.
• The fluid and sinuous forms and the variation
and interweaving of different levels– assisted by
the modulated use of natural light – combine to
create a highly complex spatial and functional
experience that offers continuously different and
unexpected views, from the interior towards the
open spaces.

10. The architecture of MAXXI
Two principle architectural elements
characterize the project:
• The concrete walls that define the
exhibition galleries and determine
the interweaving of volumes; and the
transparent roof that modulates
natural light.
• The roofing system complies with the
highest standards required for
museums and is composed of
integrated frames and louvers with
devices for filtering sunlight, artificial
light and environmental control.

11. • Galleries, Walkway and Materials
Located around a large full height space which
gives access to the galleries dedicated to
permanent collections and temporary
exhibitions, the auditorium, reception services,
cafeteria and bookshop. Outside, a pedestrian
walkway follows the outline of the building,
restoring an urban link that has been blocked
for almost a century by the former military
barracks in Rome. Materials such as glass
(roof), steel (stairs) and cement (walls) give the
exhibition spaces a neutral appearance, whilst
mobile panels enable curatorial flexibility and
variety.
The pedestrian path that crosses the campus
follows the soft lines of the museum, slipping
under its cantilevered volumes. The interior of
the building presents visitors with a glimpse of
numerous views and openings that cross the
structure: on the one hand protecting its
contents between its solid walls, on the other
inviting visitors to enter through its large
glazed surfaces on the ground floor.

12. • Sinuous shape
The fluid and sinuous shapes, the
variety and interweaving of spaces
and the modulated use of natural
light lead to a spatial and
functional framework of great
complexity, offering constantly
changing and unexpected views
from within the building and
outdoor spaces.
• MAXXI casts aside the idea of the
“closed” building in favour of a
broader dimension that extends
the interior spaces into the exterior
spaces around the building, open
to the entire neighbourhood.

13. El Phaeno
• LOCATION:
Wolfsburg, Germany. This being the biggest factory in
Europe, employing more than 50,000 people, is home to
some 120,000 inhabitants. And receives an average of a
million and a half visitors a year. Located in the city center,
in an area between the commercial and office. A pass
around high speed trains, to the Mittelland canal bank.
• Science Museum:
In seeking to be more than the "city volkswagen" she was
commissioned to launch the idea of creating a museum
dedicated to engage children and young people to the
world of physics, biology and chemistry, in a didactic way.
This offers a different option for visitors, with its traditional
theme park Autostadt and the Volkswagen museum.
Receiving a 180mil visitors annually.
• Urban Analysis
The building appears in the landscape as a connecting
element between the two parts of the city, establishing a
direct relationship with the city and move through it.
Multiple paths pedestrian and vehicle motion is in the
terrain place either inwards or through building composing
a displacement interconnection routes.

14. INDEX
1. EXPOSITION
2. EMPTY
3. PUB
4. LABORATORY
5. STAIRS
6. RAMP AND BRIDGE

15. INDEX OF LOW LEVEL
1. SQUARE
2. RAMP
3. ENTRY
4. PUB
5. DEPARTURE
6. AUDIENCE
7. LOCAL
8. EVENT

16. • Landscape:
It appears as a mysterious object that arouses curiosity
and discovery. The terrain passes underneath the
volume as an artificial landscape with rolling hills and
valleys that stretch around the square. The Center
captures the surrounding landscape dynamics in
elongated form off the ground, in aventajamientos
crashes and walls that give the illusion that the building
is moving. The public path leads bridge-like woodworm-
hole inside the building, promoting interaction between
the inside and outside which enables, as in floor, a
fusion of both.
• Spaces:
The building allows people to walk and climb down one
part of the pavement to get inside. In other places, the
ground floor takes visitors to a public square.
Downstairs open broad prospects, exposing the context
of the city, between the concrete cones.
• The building does not tread the earth completely. Much
stands on a square with a series of large inverted
conical shapes with rounded corners that act as legs
and give an effect of weightlessness.

17. • Among them develop various functions as a library, conference
rooms and an auditorium for 250 people.
• Techniques and materials:
Concrete: The roof structure is steel.
Facade: Has only large portions of concrete.
Glazed areas: They used large glass shades. Furthermore you can
see skylights, respecting the diamond pattern was made in the
concrete. Were used in construction, 27 cubic meters of concrete
and more than 3,500 steel beams.
• The "cones”
So called piles, appointed by the architect as cones, which are
widening as rise. There are 10 of them and each one is identified by
its curvature and tilt. These piles are inhabited with windows, and
sliding glass doors.

18. Temporary tensile structures, Lilas
Installations, London, 2003
• The Serpentine Summer Party Installation is designed as an open air space raising 5.5m that consists of three
identical tensile fabric structures or parasols arrayed around a central point. Each parasol develops sculpturally
from a small articulated base to a large cantilevered diamond shape.
• Taking inspiration from complex natural geometries such as flower petals and leaves, the three parasols overlap to
create the pavilion’s main conceptual feature: complex symmetry, interweaving all-the-while without touching,
allowing air, light and sound to travel through narrow gaps in a state that is both open and likewise tending toward
closure.
• Raised on a low platform located within an open field flanked by a row of trees just South of the Serpentine
Gallery, the Serpentine Summer Party Pavilion is free standing and accessible from all sides.
• Accommodating movement throughout the site, the Pavilion is enigmatic. In the day it provides shading, while at
night the pavilion undergoes an energetic transformation into a source of illumination. From continuous lighting
around each base, light is thrown up the fabric surfaces along very thin seams that radiate about the parasols that
act like corseting or the veining of flowers revealing the geometric intricacy of the pavilion and highlighting the
overall architectural form in calligraphic arcs.
• SIZE/AREA:
Height 5.5 m
Width 22.5 m
Length 22.5 m
Total Floor Area 310 m2

20. Centre for Contemporary Art, Cincinnati
Cincinnati's Contemporary Arts Center is the
first built project in the United States
In response to the metropolitan setting of the
building, Hadid developed the concept of the
"urban carpet", to draw in pedestrian traffic
inherent to a downtown area. The "urban
carpet" is articulated by a seamless run of
concrete that begins outside the building,
continues into the mezzanine level and
eventually curves upward at the far end of the
building behind the stairs.

21. ZHA Nordpark Cable Railway,Innsbruck, Austria
• In the project there are four stations.
The scenic railway, which serves ski
stations in the mountains above the
city.
• The concepts of “Shell & Shadow”
generate each station’s spatial quality.
• A lightweight organic roof structure
floats on top of a concrete plinth. The
fluid shapes and soft contours give the
appearance of glacier movements.
• New production methods like CNC
milling and thermoforming allow
computer generated designs to be made
into buildings structure.
• Parts of the building look like cars,
aeroplane wings, yachts. Large
cantilevers and small touch down areas
give a floating appearance to the shells.

22. BERNHARD TSCHUMI
• Decon follies (like Tschumi’s
pavilions at La Villettein Paris)
seek to promote dislocation, not
provide cosyshelter. Decon is
mostly paper architecture, in
which many of designs
published in magazines are
clearly unbuildable: girders
projecting at weird angles into
air, beams that pierce space like
pins in a voodoo doll, and
columns without function seem
to violate laws of gravity.
The designs create non-sensual sculptures for an irrational world. “Making
things fit doesn’t make sense anymore,” the Swiss-born Tschumi said.

23. Principles
• Form follows fiction.
• Theory of timelessness.
• Red is not a colour.
• Point, Line and Surface theory.
• Technologies of Defamiliarization
• The Mediated “Metropolitan” shock
• De-structuring
• Superimposition
• Crossprogramming
• Events : The Turning point
Six Concepts

24. Parc de la Villette, Folies, 1982-97
• Over 1 kilometer long in one direction C and
700 meters wide in the other La Villette appears
as a multiple programmatic field, containing in
addition to the park, the large Museum of
Science and Industry, a City of Music, a Grande
Hall for exhibitions and a rock concert hall.
• The basis of the design is the superimposition
of three independent systems, namely: Points
Lines Surfaces
Superimposition: lines, points, surfaces.

27. Points
• The folies are placed according to a point-grid
coordinate system at 120 meter intervals
throughout the park. The form of each is a basic 10
x 10 x 10 meter cube or three-story construction of
neutral space that can be transformed and
elaborated according to specific programmatic
needs. Taken as a whole, the folies provide a
common denominator for all of the events
generated by the park program.
• The repetition of folies is aimed at developing
clear symbol for the park, a recognizable identity.
• Their grid provides a comprehensive image or
shape for the otherwise ill-defined terrain.
• Similarly, the regularity of routes and positions
makes orientation simple for those unfamiliar with
the area. An advantage of the point-grid system is
that it provides for the minimum adequate
equipment of the urban park relative to the
number of its visitors.

29. Lines
• The folie grid is related to a larger
coordinate structure, an orthogonal
system of high-density pedestrian
movement that marks the site with
a cross.
• The North-South passage or
Coordinate links the two Paris gates
and subway stations of Porte de la
Villette and Porte de Pantin, the
East- West Coordinate joins Paris to
its western suburbs.
• A5 meter wide, open, waved
covered structure runs the length of
both Coordinates.

31. Surfaces
• The park surfaces receive all
activities requiring large
expanses of horizontal space for
play, sports and exercise, mass-
entertainment, markets and so
forth.
• During summer nights, for
example, the central green
becomes an open air film
theater for 3,000 viewers. The
so called left over surfaces
where all aspects of the
program have been fulfilled, are
composed of compacted earth
and gravel.

33. New Acropolis Museum, Athens
• A movement concept
The visitors route forms a clear three-
dimensional loop, affording an
architectural promenade with a rich
spatial experience extending from the
archaeological excavations to the
Parthenon Marbles and back through
the Roman period.
• Movement in and through time is a
crucial dimension of architecture, and of
this museum in particular.
• With over 10,000 visitors daily, the
sequence of movements through the
museum artifacts is conceived to be of
utmost clarity.

34. • ORGANISATION
The Museum is conceived as a base, a
middle zone and a top, taking its form
from the archaeological excavation below
and from the orientation of the top floor
toward the Parthenon.
• Tectonic & programmatic concept
The base of the museum design contains
an entrance lobby overlooking the
Makriyianni excavations as well as
temporary exhibition spaces, lobby,
retail, and all support facilities. The base
hovers over the excavation on more than
100 slender concrete pillars.

35. Mid – level Plan
• The middle (which is
trapezoidal in plan) is
a double-height space
that soars to 10
meters (33 feet),
accommodating the
galleries from the
Archaic to the late
Roman period.
• A Mezzanine features
a bar and restaurant
(with a public terrace
looking out toward
the Acropolis) and
multimedia space.

36. Top level Plan
• The top is the rectangular,
glass- enclosed, skylight
Parthenon Gallery, over 7
meters high and with a floor
space of over 2,050 square
meters (22,100 square ft).
• It is shifted 23 degrees from
the rest of the building to
orient it directly toward the
Acropolis.
• The building’s concrete core,
which penetrates upward
through all levels, becomes
the surface on which the
marble sculptures of the
Parthenon Frieze are
mounted. The core allows
natural light to pass down to
the Caryatids.

37. REM KOOLHAAS: THE CULTURE OF
CONGESTION
• The Dutch architect Rem Koolhaas
(b.1944) believes architecture should be
a dangerous, risk-taking enterprise. His
vision of dynamic between an architect
and the megalopolis informs his work.
• Koolhaas’s hallmark is the inventive use
of inexpensive industrial materials like
plywood and plastic.
• He seeks to preserve the immediacy of
improvised sketching in his inventive
designs.
• An urbanist and thinker as well as
builder, Koolhaas has a hybrid cast of
mind that puts subversive kinks into
Modernist forms.

38. Seattle Central Library, Seattle, USA, 2004
•The Seattle Central Library redefines the library as
an institution no longer exclusively dedicated to the
book, but as an information store where all potent
forms of media.
• Central library for Seattle’s 28-branch library
system, including 33,700 sq m of hq, reading room,
book spiral, mixing chamber, meeting platform,
living room, staff floor, children’s collection, and
auditorium, and 4,600 sq m of parking.
• Floors - 11+1 basement level
• From the outside , you can see a large glass
building , straight lines that intersect. It is
articulated by large blocks at different levels
corresponding to the library premises . • The "
spiral " , was a new way of delivering books to
customers within a library system . Instead of books
on different shelves and floors, the spiral inclined
allowed a continuous row of books that make them
" easy to navigate " .

39. Concept
• The concept involves the reinvention of the library as an access point to
information presented in a variety of media "The new library does not
reinvent or modernize traditional , they are just packaged in a new way ,"
explain in the OMA study.
• Koolhaas applied its interpretation of the feature set and architecture for
the project that the building would be flexible for future expansions.
• Flexibility in contemporary libraries is conceived as the creation of generic
floors on which almost any activity can be developed.
• This form of flexibility , the library strangles the very attractions that
differentiate it from other information resources .
• Instead of its current ambiguous flexibility , the library could cultivate a
more refined approach in organizing spatial compartments, each dedicated
to and equipped for specific services.

40. Paces
• Inside the building, a spiral structure
provides a continuous surface with coated
side shelves that offer different themed
collections. These ramps are supported on
slender columns constructed economically .
• The interior is divided into 5 distinguishable
blocks from the outside :
1. the parking area
2. public reading area
3. café deployed in the large atrium
4. main library space ,and reading rooms
and
5. administration, all them culminates in a
terrace on the roof.
• The third floor of the library is called "living
room ".

42. • The Book Spiral implies a
reclamation of the much-
compromised Dewey Decimal
System. By arranging the
collection in a continuous
ribbon— running from 000 to
999—the subjects form a
coexistence that approaches the
organic; each evolves relative to
the others, occupying more or
less space on the ribbon, but
never forcing a rupture.
• The main feature of the interior
is its large public spaces and
leisure reading , illuminated with
natural light coming through the
glass walls .
• The building is covered by a
striking glass and steel structure .

43. INNOVATIONS IN ENERGY EFFICIENCY
• The library is exceeds
Seattle’s energy code by 10
percent.
• The expected energy savings
would power at least 125
homes.
• Better shading effect than
most tinted glass buildings,
without the undesirable
darkening.
• Diagonal grid system :
protection against
earthquake or wind damage

44. A wealthy married couple with three children lived in a very old and beautiful house in Bordeaux
in France. For many years this family was thinking about building a new home, planning how it
could be and wondering who the architect would be. Suddenly, the husband had a car accident
and almost lost his life. Now he needs a wheelchair. The old beautiful house and the medieval
city of Bordeaux had now become a prison for him. The family started to think about their new
house again but this time in a very different way.
The married couple bought a hill with a panoramic view over the city and approached the Dutch
architect Rem Koolhaas in 1994. The husband explained to him: "Contrary to what you might
expect, I do not want a simple house. I want a complicated house because it will determine my
world."
'MAISON À BORDEAUX'

45. Circulation in the new house.
Instead of designing a house on one floor which would ease the movements of the wheelchair, the architect
surprised them with an idea of a house on three levels, one on top of each other. The ground floor, half-
carved into the hill, accommodates the kitchen and television room, and leads to a courtyard. The bedrooms
of the family are on the top floor, built as a dark concrete box. In the middle of these two levels is the living
room made of glass where one contemplates the valley of the river Garonne and Bordeaux's clear outline.
The wheelchair has access to these levels by an elevator platform that is the size of a room, and is actually a
well-equipped office. Because of its vertical movements, the platform becomes part of the kitchen when it is
on the ground floor; links with the aluminium floor on the middle level and creates a relaxed working space
in the master bedroom on the top floor. In the same way that the wheelchair can be interpreted as an
extension of the body, the elevator platform, created by the architect, is an indispensable part of the
handicapped client. This offers him more possibilities of mobility than to any other member of the family-
only he has access to spaces like the wine cellar or the bookshelves made of polycarbonate which span from
the ground floor to the top of the house, and thus respond to the movement of the platform.

46. Experiencing the house.
Koolhaas designed a
complex house in itself
and surpassed the
conventional, in every
detail. For example, the
top floor rests on three
legs. One of these legs, a
cylinder that includes the
circular staircase of the
house, is located off-
centre. Although this
displacement brings an
instability to the house, it
gains equilibrium by
placing a steel beam over
the house which pulls a
cable in tension. The first
question that the visitor
asks is: what happens if
the cord is cut? Koolhaas
has created a structure
which, equal to the life of
the client, depends on a
cable.

47. Experiencing the house.
This arrangement provides the
middle level with an
uninterrupted view over the
surrounding landscape, and an
effect that is intensified with
the highly polished finish of the
stainless steel cylinder which
incorporates the stairs, and
makes it disappear into the
landscape. The middle level is a
balcony where the top floor
floats above. It is a glazed space
which allows the wheelchair to
confuse the nature outside with
the interior of the house. In
contrast, the same landscape
receives another treatment
from the top floor. The view
appears restricted and
predetermined, framed by
circular windows placed
according to whether one
stands, sits or lays down

48. Experiencing the house.
Inside the house the
family experiences
Koolhaas's
interpretations of life's
instability and dualities.
In regards to the
husband, he has
experienced this
instability and is now
part of his own self. In
the same way that the
umbilical cord belongs
both to the mother and
the baby, and gives it
nutrition; the elevator
platform connects the
husband to the house
and offers him a
liberation.

49. Villa dall Ava, St. Cloud, Paris, By Koolhaas, 1991
Irregular forms and slanted lines show Koolhaas’s Deconstructivist tendencies.
The client wanted a glass house with a rooftop pool and two separate
"apartments", one for parents, one for the daughter. They also wanted a panoramic
view from the pool, the surrounding countryside and the city of Paris.
The site is like a big room with a border made of green spaces, garden walls and
slopes. It consists of three parts: a sloping garden, the main volume of the villa and
garage at street level with access to a cavity. The house is conceived as a glass
pavilion containing living and dining areas, with two perpendicular apartments
moving in opposite directions to take the view that seem to float. They pool, which
is supported by the concrete structure covered by glass pavilion added.
The house is conceived as a glass pavilion containing living and dining areas, with
two perpendicular apartments moving in opposite directions to take the view that
seem to float.
The architectural choice was determined by the significant influence of the built
environment and landscape. Thus, in order to preserve the visual relationships and
control the complex correspondences between the architectural present, it was
decided to divide the land into three strips, oriented east to west. The first
partition, defined as a garden, is part of the continuity of the range of the upper
plot and lasts until the pedestrian entrance. The desire to preserve a strip not built
at the bottom of the solar set the idea vacuum cross, and evaluate new
neighbourhood relations. The second is the longitudinal strip the building, and the
third , asphalt, allows access to the garage. The main volume of the building is
placed in the axis of the plot, grouping the bedrooms on the upper floor in two
volumes perpendicular to the main body. The decks offer a panoramic view of
Paris.

50. Main Floor
The idea was to create on main floor with a social area which were remarkable feature
given the fluidity of space that allowed simulating thus, a "continuation of the park
inside the house". For this reason we note the almost total absence of furniture, in fact,
the small amount of furniture is oriented longitudinally (along the lines of the side
walls) so as not to set limits marked. In turn we can highlight the presence of large
windows around its perimeter which makes the "internal - external environment"
relationship.
•Dining room
The sector is the lounge and dining room is able to perform a multitude of activities
given its fluidity and lack of boundaries. In a middle section is the kitchen located in a
place of "step" whose only limits are given for wood furniture arranged longitudinally
and a semi-transparent "skin" that accompanies the curved line of the counter.
•Park
As previously noted, in the house there is an area for public use consisting of the
ground floor and private sector use consisting of the bedrooms. In turn we can add the
accession of the park to public use area because of its "introduction" in the internal
environment through the large windows (living room and garden are one, due to the
presence of sliding windows). In general, from our point of view, we believe that the
house has been made ​​almost exclusively for internal use by family members. In fact we
found a very pleasant public sector, due to the lack of places for the meeting or service
spaces, since the only place providing the space itself is the kitchen, which is at the
dining room service
Second floor
The apartments cantilevered beyond the central volume hovering over the garden.
Referring to the intimate area, we can say that we also note a well marked between the
two bedrooms, so division, the bedrooms act as individual departments, so as each of
them has its own area of ​​services and a staircase that allows access independently from
the main plant. On this floor there is the presence of two bathrooms, one serving each
room, located in rectangular volumes retracted behind the exterior walls.
•Bedrooms
The first bedroom on the street is for the daughter. The second to parent and is located
on the living room. Moves to the other side of the line of the wall, on a ledge amazing.
Every detail of this construction is contrary to common sense and baffles. The severity
of construction, the heaviest part is located on the top floor , defying the laws of
physics.
Regarding the bedroom consider not meet other specific function given its distinct
separation of the social area.

51. Structure
The house is well regulated by the thick concrete wall that is located longitudinally on the lot, one end of which is located
one of the boxes, leaning against, the other stands astride where it disappears. The wall acts as a powerful lever, the rest is
just movement, including garden indeterminate spaces that seem to be part of the living room. With this arrangement the
system produces all kinds of vertical compressions struggling against the powerful interior columns, partly masked by the
fitted line separating the ramp from adjoining rooms. These compressions are resolved by the horizontal expansion of the
glass walls. Spaces spilling outward, or seize him, to such an extent that the boundaries between inside and outside
disappear, like the uncertain balance between up and down.
The game covers offers another illusion that merges with the sky, there is no parapet or on the roof garden, or the
elongated pool, it is not to a space to vertigo sufferers. As throughout the villa classical concepts were eliminated, the
manifesto of a new era shows exultant face of changing times.
Similarities with the Villa Savoye
The Villa Dall'Ava is not just a residence program that explores and proposes structural and contemporary
reinterpretations, is itself a collection of the Villa Savoye of Le Corbusier, which are re-evaluated the five points of the
Swiss franc architect:
•Free ground
The freedom with which the program is resolved, is the result of inventive structural Villa Dall'Ava system where few pillars
and beams solve large loads, a clear tribute to Villa Savoye .
•Free facade
As a result of the previous option, there is a hierarchy in the facades allowing transparency and lightness. It is a contrast
between different materials.
•Stilts
Instead of perpendicular piles of Le Corbusier, Rem Koolhaas uses compensatory "stilts", reminiscent of the playful designs
of British architect Will Alsop. Koolhaas makes stilts metrically arranged in music. A forest of pillars vertically angled in
different ways, serving to support volumes upstairs.
•Terrace-garden
Like the Villa Savoye of Le Corbusier, the prismatic volumes have a beer garden, connected by a large pool of 30m2. The
cover generally unusable, is treated as a facade, allowing beautiful views of the city.
•Windows in row
The bands of windows are both prismatic volumes and planes that cut the house, surrounding it. The nature of the
environment falls interiors. The continuity of the coating in the apartments upstairs is only interrupted by bands of
windows.

52. Materials
The main materials used for the structure were reinforced concrete and steel columns. The cladding slate, concrete, corrugated
aluminum or copper lacquered, polished anodized aluminum uprights, clear glass and frosted greens .
Large glass windows pierce the concrete walls at garden level making the living spaces seem totally enveloped by nature. The glass
walls create a permeable barrier between the inside and outside that slides completely open to the garden. Although the perimeter
of the villa is found almost closed glass at garden level full, is not completely transparent in all sectors. The south facade is closed
with transparent glass and sandblasted, hiding a part of the living room , but allows the passage of light.
The minimalist kitchen is hidden from the outside, hidden behind a translucent wall curve within the public space.
Along the north side, a thickened plywood partition spaces darkens family life. Only the elements of movement, occupying the
space between the wall of wood and glass facade are visible from the outside.
A narrow concrete ramp leading from the entrance to the garden level, and cantilevered steps provide access from the living room
upstairs.
Independent apartments upstairs are clad with corrugated aluminum contrasting shades, one with an aluminum finish and one with
a copper layer of lacquer that gives it a reddish hue. The corrugated plates are oriented horizontally, reinforcing the orientation of
the apartments in contrast to the central volume. The material covers the bottom of each box apartment, even extending through
the interior, emphasizing reading volume on the surface. The staircase, which ascends from the public space above the apartment
seems to slip through an opening in the volume of continuous aluminum.
Thin steel columns painted in black and gray tones support the higher of the apartments upstairs, overlooking the street facade.

53. CRITICAL REGIONALISM
• The term ‘Critical Regionalism’ was first coined by Alexander Tzonis and
Liane Lefaivre and later more famously and pretentiously by Kenneth
Frampton in “Towards a Critical Regionalism : Six points of an architecture
of resistance”
• According to Frampton, critical regionalism should adopt modern
architecture critically for its universal progressive qualities but at the same
time should value responses particular to the context. Emphasis should be
on topography, climate, light, tectonic form rather than scenography and
the tactile sense rather than the visual.
• According to Tzonis and Lefaivre, critical regionalism need not directly
draw from the context, rather elements can be stripped of their context
and used in strange rather than familiar ways.
• Critical regionalism is different from Regionalism which tries to achieve a
one-to-one correspondence with vernacular architecture in a conscious
way without consciously partaking in the universal.
• It is considered a particular form of post-modern response in developing
countries, not to be confused with postmodernism as architectural style.

54. • Architects involved are-
– Alvar aalto
– Raj Rewal
– Tadao Ando
– Charles Correa
– B V Doshi

55. TADAO ANDO