final modernism

Modern Architecture
(Started during 19th century)
Group 3
Kashyap Jainam
Manan Yukta
Nishi Ami.J
Kinjal Harsh
Pallav Sakshi

INDEX
• Introduction
• Origins
• Characteristics
• Case study
1. MILL OWNER’S ASSOCIATION BUILDING, AHMEDABAD
2. GUGGENHEIM MUSEUM, NEW YORK
3. BAUHAUS SCHOOL
4. JEWISH MUSEUM, BERLIN
5. TOW MOON CULTURAL CENTER, SOUTH KOREA
6. BRITISH COUNCIL,CHARLES CORREA-
7. THE PARK HOTEL , HYDERABAD
8. TITAN INTEGRITY CAMPUS
9. VILLA SAVOYE
10.KIMBELL ART MUSEUM

 Introduction
 What is Modern Architecture ?
 Modern architecture is a style of building that emphasizes function and a streamlined form
over ornamentation. This design aesthetic is a departure from more elaborate and
decorated homes like a Queen Anne, Victorian, or Gothic Revival styles. Modern architecture
usually involves sharp, clean lines.
 There are several styles of modern architecture in the United States alone. From 1930
through 1970, there are categories like Expressionist, Constructivist, and Mid-Century
Modern, to name a few.
Palace of Assembly ,Chandigarh
Le Corbusier
Maitrimandir , Auroville
Roger Anger

 Modern architecture is architecture that emerged in the 19th century in Europe and the
United States.
 it began as a response by architects to rapid technological advances and greater
urbanization of society at the turn of the century.
 It is the very dominant style which came during the 19th century.
 It symbolized the ideal public virtues of democracy, liberty and reason.
 It is the architecture of simple forms(rectangles) enclosed with flat opaque(solid) or
transparent(glass) walls.
 Modern architecture is considered progessive rather than regressive.
 Modern architecture expresses volume, balance and elimination of ornaments.
 Modern styles and concepts by contrasr took root more quikly in commercial, industrial,
and residential architecture.
CN tower, Canada
John Andrews
Gateway arch, United States
Eero Saarinen

 Origins
 There are multiple lenses through
which the evolution of modern
architecture may be viewed.
 Some historians see it as a social
matter, closely tied to the project
of Modernity and thus the
Enlightenment.
 Modern architecture developed,
in their opinion as a result of
social and political revolutions.
 Others see modern architecture
as primarily driven by
technological and engineering
developments.
 Still other historians regard
modernism as a matter of taste,
the lavish stylistic excesses of
architecture.

 Characteristics
 The notion that “ Form follows function” , a dictum originally expressed by Frank Lloyd
Wright’s.
 Simplicity and clarity of forms and elimination of “ unnecessary details”.
 Visual expression of structure ( as opposed to the hiding of structural elements).
 The related concept of “Truth to materials”.
 Use of industrially-produced materials; adoption of the machine aesthetic.
 Particularly in International style modernism, a visual emphasis on horizontal and
vertical lines.
 Clean, minimal lines
 Broad roof overhangs.
 Walls of glass and large windows.
 Open and well- defined floorplans.
 Modern and traditional building materials.
 A relationship to the outside environment.
 Asymmetrical designs.

SUBJECT : THEORY OF ARCHITECTURE TOPIC : MODERNISM
CASE STUDY : 1

•The Pilotis – a grid of columns to replace load-bearing walls, allowing architects to make more
use of floorspace.
•Free floor plans – flexible living spaces that could adapt to changing lifestyles, thanks to the
absence of load-bearing walls.
•Roof gardens – a flat roof covered in vegetation, which keeps moisture consistent and regulates
temperature.
•Horizontal windows – cut through non load-bearing walls, these strips provide even light and
panoramic views.
•Free facades – open and closed sections that allow the facade to actively connect or separate
interior and exterior design elements.
Clearly, Le Corbusier’s philosophy was as much about function as form. Much of his work
centred on how good architecture can affect social landscapes too. His ‘Unité d'Habitation’
principles outlined his vision: large apartment blocks that offered spacious housing, shaded
social spaces, roof gardens, shopping streets and other amenities. These would be houses for
the masses not merely to inhabit, but to truly live in.
Along with Mies van der Rohe and Walter Gropius, Le Corbusier
was instrumental in the creation of the International Style. This
was a movement defined by rectilinear forms, open interiors
and 'weightless' structures. Le Corbusier laid out these tenets in
his five principles of new architecture, published in 1927. He
advocated:
Le Corbusier’s design philosophy

MILL OWNER’S ASSOCIATION BUILDING, AHMEDABAD
•Architects: Le Corbusier
•Location: Ahmedabad, India
•Project year: 1954
• Le Corbusier came to India on
invitation by Jawaharlal Nehru to
design Chandigarh, the new capital
of Punjab.
•Along with this he was invited to
Ahmedabad and was commissioned
to build 5 buildings.
• One of this was the new
headquarters for the Ahmedabad
Mill Owner’s Association.

Type of Architecture
• The building can be classified as Brutalist Architecture, with its outer surface made
of concrete stucco.
• The building surface looks dull due to the moss and many critiques of Brutalist
architecture have argued that it does not age well.

• This is particularly true for this building, because it is situated next the river Sabarmati on
Ashram Road where it is likely to be moist.
• The moisture is accentuated with the growth of plants along the facade, which obviously
needs watering.
• Sun breaker doing their work.

Facade
• However the dullness of the surface of the building is nicely complemented with the
variety of plants and flowers which liven up the facade.
• The front and back facade of the building, which are in the east and west direction, “break
the suns”, and was one of Le Corbusier’s genius.
• This particular feature is called sun breakers or brise-soleil, while blocking the direct gaze
of the sun, it still lets ample light and air in.

Open Spaces
• The mechanism of planting the shrubs can be seen in the above image.
• The lines along which shutters or cast was laid adds an angular or geometric look to the
building. One cannot help but think that the third floor must feel like an open space, a
balcony almost, where one can feel like being outside.
• Ironically, the building looks definitely closed from the outside.
• As you follow a curved wall, you come before a massive wooden pivoted door on a double
height wall in a 2m wide corridor.
• As you move through this narrow double height corridor, pass through the pivoted door
and turn, you are suddenly inside a massive auditorium – a space which is empty, yet so
powerful, one that impacts you so much. It is almost like you are inside a womb.
• This is one of the spaces where you realise the power of architecture – the power of
space, the significance of volumes and light and shadow.

• Along the sweeping gray areas, there are a sudden shocks of bright colours such as the
yellow wall or the bright red door.
• T his is one of the spaces where you realise the power of architecture – the power of
space, the significance of volumes and light and shadow.

CASE STUDY : 2

The design philosophy of Frank Lloyd Wright’s
architecture
Wright believed in creating environments that were both functional and humane,
focused not only on a building’s appearance but how it would connect with and enrich
the lives of those inside it. Moreover, at its core, his organic design philosophy states that
architecture holds a relationship with its time and place.
Houses like Fallingwater blend beautifully into their natural surroundings, both drawing
inspiration from and contributing to the setting. Frank Lloyd Wright’s architecture
showcases materials like wood and stone in their authentic state, rather than twisting
them into something new, a trend that continues today.
Frank Lloyd Wright’s architecture has left a lasting legacy for today’s creators of luxury
architecture . His influence can be clearly seen in thoughtful approaches to natural
materials, the blending of indoor and outdoor spaces and the rise of eco-friendly design.

GUGGENHEIM MUSEUM, NEW YORK
•Architects: Frank Lloyd Wright
•Location: New York, U.S
•Project year: 1959
•Type: Art Museum
•Solomon R. Guggenheim Museum was the last major project designed and built by FLW
between 1943 until it opened to the public in 1959, six months after his death
•Completely contrasting the strict Manhattan city grid, the organic curves of the museum
are a familiar landmark for both art lovers, visitors and pedestrians alike.
•The exterior of the Guggenheim Museum is a stacked white cylinder of reinforced
concrete swiriing towards the sky.
•The museum’s dramatic curves of the exterior, however, had an even more stumming
effect on the interior.

• Walking inside a visitors first intake
is a huge atrium, rising 92’ in height
to an expansive glass dome.
• Along the sides of this atrium is a
continuous ramp uncoiling upwards
six stories for more than one
quarter of a mile, allowing for one
floor to flow into another.
• The ramp also creates a procession
in which a visitor experiences the
art displayed along the walls as they
climb upwards towards the sky.
• The design of the museum, as one
continuous floor with the levels of
ramps overlooking the open atrium
also allowed for the interaction of
people on different levels,
enhancing the design in section.
• Although the space within the
building is undeniably majestic and
the building itself is monumental, it
was not perfectly successful in
terms of function.

• In 1992 the museum built an addition
that was designed by Gwathmey Siegel &
AssociatesArchitects that Wright had
originally intended.
• The architects analyzed Wright's original
sketches and from his ideas they created a 10-
story limestone tower that had flat walls that
were more appropriate for the display of art.
• Between 2005-2008 the Guggenheim
Museum went under an exterior
renovation where eleven coats of paint
were removed from the original surface
and revealed many cracks due to climatic
reasons.
• This revelation led to extensive research
in the testing of potential repair materials,
as well as the restoration of the exterior.

• Despite the opinion of critics, there is no doubt that Wright's design for the
Guggenheim Museum provides a spatial freedom that is unique to his style.
• It took Wright 700 sketches and six sets of working drawings to turn his vision
into an extraordinary sculpture of a building overlooking Central Park, that in the
very least should be acknowledged as one of the most spatially beautiful
International-style works of architecture.

CASE STUDY : 3

BAUHAUS SCHOOL
• ARCHITECTS: WALTER GROPIUS
• PROJECT: BAUHAUS SCHOOL
• LOCATION: GROPIUSALLEE 38,
06846 DESSAU, GERMANY
• CONSTRUCTION AREA: 113,400 SQ
FT
• DESIGN PERIOD: (1925–26)
• CONSTRUCTION PERIOD: 1927
•It is considered the pinnacle of pre-war modern design in
Europe and originated out of the dissolution of the Weimar
school and the move by local politicians to reconcile the
city's industrial character with its cultural past.
• Interested in creating a new form of design found at the
intersection of architecture, art, industrial design,
typography, graphic design, and interior design, Walter
Gropius was inspired to create an institution known as
the Bauhaus at Dessau, with an emerging style that would
forever influence architecture.

BAUHAUS SCHOOL
ARCHITECT : WALTER
GROUPIUS
Walter Adolph Georg Gropius (18 May
1883 – 5 July 1969) was a
German architect
DESIGN PHILOSOPHY:
Gropius believed that all design should be
approached through a study of the
problems that needed to be
addressed and he consequently followed the
modernist principle that functionality should
dictate form
SOME OF BUILDINGS DESIGNED BY
WALTER:
• FOGUS FACTORY
• CONSUM BUILDING
• MASTERS HOUSE
• DESSAU EMPLOYMENT OFFICE
FOGUS
FACTORY
CONSUM BUILDING MASTERS
HOUSE
DESSAU
EMPLOYMENT
OFFICE

BAUHAUS SCHOOL
DEFINITION:
➢Simplicity , functionalism , anonymous and its emphasis on the hardcraft
ethic.
➢The name Bauhaus stems from the German words for "to build" and
"house."
FUNCTIONAL TECHNIQUES:
1.SIMPLICITY
2.SYMMETRY
3.ANGULARITY
4.ABSTRACTIO
N
5.CONSISTENC
Y 6.UNITY
7.ORGANIZATIO
8. ECONOMY
9. SUBTLETY
10.CONTINUITY
11.REGULARITY
12.SHARPNESS
13.MONOCHROMATICIT
Y

BAUHAUS SCHOOL
➢Bauhaus is a school in Germany that combined crafts and the fine arts.
➢It operated from 1919 to 1933
➢It publicized and taught for the approach to design
➢The Bauhaus school was founded by Walter Gropius
➢Ironically, despite its name and the fact its founder was an architect, the Bauhaus
did not have an architecture department for the first several years of its existence
➢Bauhaus style became one of the most influential currents in modernist
architecture and modern design.

BAUHAUS SCHOOL
PLAN OF BAUHAUS SCHOOL
The building is comprised of three wings all connected by bridges. The school and
workshop spaces are associated through a large two-story bridge, which creates the
roof of the administration located on the underside of the bridge

The extensive facilities in the plans of the Bauhaus at Dessau include spaces for
teaching, housing for students and faculty members, an auditorium and offices,
which were fused together in a pinwheel configuration. From the aerial view, this
layout hints at the form of airplane propellers, which were largely manufactured in
the surrounding areas of Dessau.
BAUHAUS SCHOOL

BAUHAUS SCHOOL
The school existed in three German cities under three different
architect- directors
1. (Walter Gropius from 1919 to 1927 )
2. (Hannes Meyer from 1928 to 1930)
3. (Ludwig Mies van der Rohe from 1930 to 1933).
1. Weimar from 1919 to 1925 2. Dessau from 1925 to 1932
3. Berlin from 1932 to 1933

• The housing units and school building are connected through a wing to create
easy access to the assembly hall and dining rooms. The educational wing
contains administration and classrooms, staff room, library, physics laboratory,
model rooms, fully finished basement, raised ground-floor and two upper floors
• As a practiced architect, Gropius was interested in including structural and
technological advancements as he designed this revolutionary school for
architecture and design students.
BAUHAUS SCHOOL

It's size "belied the enormous symbolic significance it was to gain as its national
and international reputation grew as an experimental and commercial laboratory
for design after 1927 as a hotbed of architecture and urban design."
BAUHAUS SCHOOL
SECTION
SECTIONAL
ELEVATION

TERRACE PASSAGE
MEETING HALL
CORRIDOR
GLAZED WINDOWS
SEMINAR HALL
HOSTEL BLOCK
PASSAGE
BAUHAUS SCHOOL

CASE STUDY : 4

DANIEL LIBESKIND Born : may 12,1946,poland
Age : 75
Natinality : american
Occupation : architect
Daniel libeskind is a polish-american architect,
artist, professor and set designer libeskind
founded studio daniel libeskind in 1989 with
his wife, nina, and is its principal design
architect.
He is known for the design and completion of
the jewish museum in berlin, germany, that
opened in 2001. On february 27, 2003,
libeskind received further international
attention after he won the competition to be
the master plan architect for the
reconstruction of the world trade center
site in lower manhattan.

Jewish museum berlin, germany World trade center master plan, new york
city, us
Reflections at keppel bay, singapore Denver art museum, denver, colorado, us

Zlota 44, warsaw,poland L tower in toronto, canada

Studio weil, mallorca, spain
Vanke pavilion, expo 2015, milan, italy
Contemporary jewish
museum, san
francisco, california, us
Bord gáis energy theatre, dublin, ireland

JEWISH MUSEUM, BERLIN
•Architects: studio libeskind
•Area: 15500 m²
•Year: 1999
The original jewish museum in berlin was
established in 1933, but it wasn’t open very long
before it was closed during nazi rule in 1938.
Unfortunately, the museum remained vacant until
1975 when a jewish cultural group vowed to
reopen the museum attempting to bring a jewish
presence back to berlin.
It wouldn’t be until 2001 when libeskind’s
addition to the jewish museum finally opened
(completed in 1999) that the museum would
finally establish a jewish presence embedded
culturally and socially in berlin.

In 1987,
the berlin government
organized an anonymous
competition for an expansion
to the original jewish museum
in berlin that opened in 1933.
The program wished to bring
a jewish presence back
to berlin after wwii.
In 1988, daniel libeskind was
chosen as the winner among
several other internationally
renowned architects; his
design was the only project
that implemented a radical,
formal design as a
conceptually expressive tool
to represent the jewish
lifestyle before, during, and
after the holocaust.
Libeskind wanted to express feelings of absence,
emptiness, and invisibility – expressions of
disappearance of the jewish culture. It was the act of
using architecture as a means of narrative and
emotion providing visitors with an experience of the
effects of the holocaust on both the jewish culture and
the city of berlin.

Concept
Absence
Emptiness
Invisibility
Even though libeskind’s extenstion
appears as its own separate building,
there is no formal exterior entrance to
the building. In order to enter the new
museum extension one must enter
from the original baroque museum in
an underground corridor. A visitor must
endure the anxiety of hiding and losing
the sense of direction before coming to
a cross roads of three routes.

From the exterior, the interior looks as if it will be
similar to the exterior perimeter; however, the
interior spaces are extremely
complex. Libeskind’s formulated promenade
leads people through galleries, empty spaces, and
dead ends. A significant portion o f the extension
is void of windows and difference in materiality.
Between the lines
The three routes present opportunities to witness
the jewish experience through the continuity with
german history, emigration from germany, and the
holocaust. Libeskind creates a promenade that
follows the “zig-zag” formation of the building for
visitors to walk through and experience the spaces
within.

CASE STUDY : 5

AR. MOON HOON Born : 1968, south korea
• At this time Moon was fully immersed in
Hinduism and Indian philosophy, but he also
admired the architecture of Tadao
Ando and Lebbeus Woods.
• He was fascinated by the landscape of
Varanasi, where sacred and profane, life and
death, cremation and bathing coexist.
• During his study professor Charles
Correa despised most of Moon's academic
projects and even tried to dissuade him from
becoming an architect.
• Moon Hoon's philosophy is “hesitate less, work faster”, because hesitating means
drifting away from what is integral to the project. This is how Moon Hoon achieved
mass-produced creativity in his projects without any extensive discussions about
the form and the meaning of life.

TOW MOON CULTURAL CENTER, SOUTH KOREA
• Architects: moon hoon (moonbalsso)
• Project: two moon
• Location: 19-34, 47, jungsan-dong,ilsandong-gu,
goyang-si, gyeonggi-do, korea
• Exterior finishing: exposed concrete
• Interior finishing: paintedcement brick
• Site area: 711m²
• Design period: dec. 2013 – apr. 2014
• Construction period: jun. 2014 – mar. 2015
• Building a private cultural center centered around a
coffee shop and a gallery.
• A free spirited space , somewhat erotically charged like
the movie, a place full of festivity and relaxed atmosphere.
• The other important criteria included providing two
separate buildings, one for the client, and the other for his
younger brother.
• The budget was extremely low, so from the start we
decided to build simple boxes with some impact points.

• The diamond shaped site was divided into two sites accommodating two simple boxes
oriented to provide enough parking space and a passage way between the two buildings.
• The low budget and the movie two moon junction were two major inspiration for the design.
Each building has three floors that can be accessed directly via individual staircases, by doing
so, common space can be reduced to minimum while maximum can be allocated for rental
usage.

• The two boxes have an encounter with a large sphere, thus having a distinct concave space
that signifies a moon motif.
• Right one is imbued with a balcony like a lure. The left one is given a horizontal slit.
• The other sides of the buildings also have contact points with small sphere, providing depth
and apertures.
• The top floors have outdoor gardens with high walls, but round apertures give much
transparencies among much solidified building.
• A mini pantheon like domes are also provided on the top floors.
• The free standing walls on the 3rd floors are punctured with horoscopes representing each
client

• The two three storey buildings accommodate these programs and are separated by a
narrow passage, and each have their own staircases for access.
ENTRANCE CAFE

NORTH ELEVATION EAST ELEVATION
WEST ELEVATION SOUTH ELEVATION
• The facade is perforated in places and has full blown spherecal holes, interesting to say the
least.
• The design was inspired by the erotic thriller ‘two moon junction’, a concept that isn’t as
apparent in the final design, unless if you look at the openings in a crude manner.
• The identity of the building seems to surpass any other aspect of the design.

• The dry roof gardens are a nice touch,
the high walls dictating the views out
into the surrounding area.
• Its seclusion comes as a surprise
considering the robustness of the
facade, but a welcomed addition to the
more than ordinary building.
• The free standing wall on the 3rd floors
are punctued with horoscopes
representing each client. Welcome back
to “ornaments and symbol” moon and
stars !!
PUNCTURE WALL
VIEW FROM
BALCONY
RENTAL PLACE BALCONY
MOON AND STAR
PASSAGE OF TERRACE

• His can be looked at as
both an opportunity for
reinventing the identity
of the neighborhood.
• The building also
incorporates classical
structures like the
dome, a recurring shape
in openings.
The project also provides
areas for rental space
Pantheon-like domes continue
the project’s use of elliptical
features
A café is housed at first floor
level
A rooftop terrace is found at
the scheme’s upper level

CASE STUDY : 6

AR. CHARLES CORREA Born : 1 September 1930
• His early work incorporated traditional
architectural elements. His work was distinguished
by standard symmetrical rooms, modernist use of
materials, distinctive concrete forms, and location.
• Correa began his work as an urban planner in the
late 1960s, designing New Bombay. Even though
he was schooled in the West, he was not
interested in International Style Modernism from
his career.
• He has always placed a higher value on traditional
or vernacular architecture, working towards his
design language.
• “Certainly, architecture is concerned with much more than just its physical
attributes. It is a many-layered thing. Beneath and beyond the strata of function
and structure, materials and texture, lie the deepest and most compulsive layers of
all.” — Charles correa

BRITISH COUNCIL,CHARLES CORREA-
• Architect: charles correa
• Area: 598 m²
• Location: delhi, india
• Project duration: 1987 - 1992
• These elements are arranged in a series of layers, recalling the historic interfaces that have
existed between india and britain over the last several centuries.
• “The building is a design collaboration of three grandmasters — architect charles correa,
mahendra raj (father of modern building engineering) and artist howard hodgkin. This
building is the first british council worldwide to be awarded a usgbc leed platinum rating
under the commercial interiors category by us green building council.
• This new building for the
british council houses
consits of :
1. library
2. Auditorium
3. Art gallery
4. Head quarters of their
offices

• Central linear axis
• 72000 square foot
sprawling space
• Auditorium outdoor
• Reading outdoor
• Reading mural
gallery cafeteria

• These elements are arranged in a series of layers , recalling the historic inter- -faces that have
been existed here over the last several centuries.
• The design reflects a conceptual progression of the indian history with interior and exterior
spaces flowing into one another through the use of courtyards, pillars and fountains.

• In 1987,ar. Charles correa was commissioned to design a new building
for the british council in delhi.
• The five storey building was formally opened in year 1992(october).
• This building is the headquarter of british council in india , celebrates
the rich palimpsest of ideas and cultures that is india .
• it houses a number of diverse function, including a library , an
auditorium ,an art gallery and their headquarters in india.
• With employee strength of 800 across 11 locations, correa's design
references hinduism, islam and the european enlightenment as well as
the importance of cosmic and religious symbolism to his work.
LIBRARY
ART GALLERY
• He traces a route through the building
from a spiral symbolising bindu - the
energy centre of the cosmos through the
traditional islamic char bagh to a european
icon, inlaid in marble and granite, used to
represent the age of reason.

CASE STUDY : 7

AR. Skidmore, Owings & Merrill
• Skidmore, Owings & Merrill is a American
architectural, urban planning and engineering firm. It
was founded in 1936 by Louis Skidmore and
Nathaniel Owings in Chicago, Illinois. In 1939, they
were joined by engineer John Merrill.
• Type - Limited liability partnership
• Industry - Professional services
• Founded - Chicago, Illinois, U.S. (1936)
• Headquarters - Chicago, Illinois, U.S
• Their advance research projects independently,
harnessing the collective intelligence within our
studios. Our work in areas such as sustainability,
materials, digital technology, and fabrication has led
to innovations that have transformed the building
industry.
UAE Diplomacy Building The Park Hotel, Hyderabad Class-A Mumbai Office Building
WORKS

Architects - Skidmore, Owings & Merrill
Area – 5,31,550 ft.sq
Year – 2010
Location - Hyderabad
• The Park Hotel Hyderabad, the flagship
hotel for The Park Hotel Group.
• This 531,550-square-foot, 270-room hotel
infuses a modern, sustainable design with
the local craft traditions, and is influenced
by the region’s reputation as a center for
the design and production of gemstones
and textiles.
• Roger Duffy, SOM’s Partner in Charge of the project, says, “This
building signals our commitment to creating a design that
simultaneously felt at home among the exuberant vernacular
architecture of Hyderabad, while simultaneously incorporating
the latest sustainable strategies and technologies.”
• The project is distinctive for its profound implementation of
sustainable design strategies, with special attention paid to the
building’s relationship to its site, daylighting and views.

• Solar studies influenced the site orientation
and building massing, with program spaces
concentrated in the north and south facades,
and service circulation on the west to reduce
heat gain.
• The hotel rooms are raised to allow more
expansive views, situated on top of a podium
comprised of retail spaces, art galleries, and
banquet halls open to guests and visitors.
Exterior cladding -
Metal Panels: Alpolic Aluminum Composite
Panels (Spandrel panels at Curtain Wall)
Metal/glass curtain wall:
Permasteelisa (India), Pvt. Ltd. (Curtain Wall,
Perforated and Embossed Metal Screens)
Glazing -
Glass: Manufacturer of the glazing within the
curtain wall:
CSG Architectural Glass (China Southern
Glass)
Skylights: Manufacturer of the glazing at the
All Glass Connector on level 3, CSG
Architectural Glass (China Southern Glass)

GROUND FLOOR
PLAN
FIRST FLOOR
PLAN
OUTERSPACE OF THE
HOTEL
INNERPART OF THE HOTEL
RESTURANT
SITTING
THE PARK HOTEL , HYDERABAD

• This flexible outdoor area is
protected from strong
winds, and serves as an
extension of the restaurants
inside.
• It features a private dining
court and a swimming pool,
which can be seen from the
adjacent areas and the
nightclub below, with
moving patterns formed by
light passing through the
pool’s water.
• The outdoor courtyard was
designed to be a
multifunctional space
accessible from the lobby,
restaurants, and bar that
surround it.
• Elevated three stories
above ground, this veranda
provides views to Hussain
Sagar Lake and the city.
• The facade provides
a range of
transparency
according to the
needs of the spaces
inside. Perforated
and embossed
metal screens over
a high-performance
glazing system give
privacy to the hotel
rooms while
allowing diffused
daylight to enter the
interior spaces, and
provides acoustic
insulation from
trains passing
nearby.

• The opaque areas of the cladding shield the hotel’s
service areas from public view.
• The shape of the facade’s openings, as well as the
three-dimensional patterns on the screens
themselves, were inspired by the forms of the
metalwork of the crown jewels of the Nizam, the city’s
historic ruling dynasty.
• The interiors continue the jewelry concept – with
silver, gold and gem tones throughout.
• Many of the interior surfaces, including the mosaics,
reflect local designs, which were implemented by
artists and craftsmen from the region.
• The building's reinforced-concrete frame structure is
supplemented with two long-span steel trusses to
afford column-free spaces one in the banquet hall.
• The other to enable a block of rooms to cantilever over
the podium where it shields parts of the open areas
from the sun.

CASE STUDY : 8

TITAN INTEGRITY CAMPUS
Architects: mind space
Area: 390000 ft²
Year: 2017
LOCATION :electronics city, bangalore, karnataka, india

• A bio lake is conceived
towards eastern side of the
site which responds to the
existing lake and would
seem like an extension of it.
• Office building with all its
ancillaries is proposed
around this bio lake.
• Building is oriented with longer sides facing
north – south to bring in glare free natural
light.
• Porosity in planning and form allows
continuous movement of breeze with wind
tunnels creating venturi effect.
• Common areas are open and non-air
conditioned.

• A bio lake is conceived
towards eastern side of the
site which responds to the
existing lake and would
seem like an extension of
it.
• A green wall on the
western side of the
building shields the usable
spaces from harsh western
sun. Green buffer zone in
between green wall and
usable spaces further cuts
off the radiation

• By lifting the ground level there is a seamless connect between internal bio lake and
external veerasandra lake making the edge of the boundary disappear.
• Positioned along one edge of the serene water body, framing the greenery and water,
one can dine either indoors or outdoors listening to the sounds of birds or sound of
water.

• Green terraces not only allow one to work outdoors but also we are surrounded by the
flora and fauna and also they are useful for those who wish to enjoy leisurely walks.

• The design has a very special connect with the site and the adjoining lake.
• The idea is of exploiting every view possible to the lakeside makes any user a spectator
of this serene setting.
• Office building with all its ancillaries is proposed around this bio lake.
• A bio lake is conceived towards eastern side of the site which responds to the existing lake
and would seem like an extension of it.
• The reflection of the water takes over the central spine during early morning hours.

• Integrated with the dynamic architecture the landscape spaces seamlessly merge from
outside to inside.
• On the whole Titan corporate office campus where the idea is that one is surrounded
with nature and is designed in such a way.
• The landscape design is conceived as a vertical park where each level is a green
terrace starting from waterfront park at the ground level to the sky park at the roof
level.

• Considering Bangalore weather conditions and since bio-Lake and green terraces creates
an adequate micro-climate.

• The five atriums in the vertically connect all the floors from basement bringing in natural
light and also signify each of the departments.

CASE STUDY : 9

AR. le corbusier Born : 6 October 1887
• Charles-Édouard Jeanneret known as Le
Corbusier
• he was architect, designer, painter, urban
planner, writer, and one of the pioneers of
what is now regarded as modern
architecture.
• He was born in Switzerland and became
a French citizen in 1930.
• His career spanned five decades, and he
designed buildings in Europe, Japan,
India, and North and South America.
Le Corbusier laid out these tenets in his five principles of new architecture, published in 1927
The Pilotis Horizontal windows
Free floor plans Free facades
Roof gardens

• Example of famous work .
• 5 point used in villa savoye.

Villa Savoye
• Architects: Le Corbusier and Pierre
Jeanneret.
• Location: Poissy, France.
• Construction: 1928 - 1931.
• Typology: Weekend residence.
• Clients: Pierre and Emilie Savoye.
• Materials: masonry of 16 cm mortar
blocks. and 5 cm brick. in walls and
windowsills, glass enclosures in the
wooden frames and steel frames (later
replaced by aluminum).

Villa Savoye
It is considered as the
paradigm of International
Architecture and the way of
building houses in the 20th
century. Such is its value for
architecture that it is part of
the national monument of
France and functions as a
house-museum.

• The Villa Savoye is a reflection of the five points
for a new architecture by Le Corbusier:
• The building that rests on pilotis (columns),
leaving the surface mostly free to allow the
landscape to be integrated into the building.
• The roof-garden, instead of sloping roofs, the
terraces are yet another garden.
• Free interior space, not rigidly distributed by
fixed partitions.
• The continuous window, developed horizontally
to achieve profuse natural lighting.
• The free facade, that is, independent of the
bearing structure

Structure and Circulation
Structure of pillars and beams in
reinforced concrete cast on a square
grid of modules of 4.75 x 4.75 meters
The vertical circulation, made up of two modules: one with stairs and
the other with ramps, organize the spaces of the house, while the
horizontal circulation is free and fluid.

Volumetry
Its volumetry refers to
a white cube which
ends in curved lines
on the ceiling. Thanks
to the open plan, it
reads as if the volume
were "floating above
the ground."

Low level
Free surface mostly with a
hidden volume behind the
play of shadows and the
glass walls.

Ground floor

First floor
Free and fluid
internal spaces
Natural lighting
Organization around
circulation

1 floor

Roof plan
Roof - Garden
Incorporation of the
natural to the
artificial

Roof plan

Facade / section

CASE STUDY : 10

Ar. LOUIS KAHN
BORN – FEBRUARY 20, 1901
DESIGN PHILOSOPHY –
• He strongly believed in the value and importance of
architecture in society. Kahn felt that well-designed
buildings could influence and improve people’s lives.
• He is known for his monumental building projects
and also for his role as an artist, teacher, and
philosopher of architecture.
FAMOUS WORKS -
Phillips Exeter
Academy Library
Yale University Art Gallery
Sher-e-Bangla Nagar
Four Freedoms Park
Roosevelt Island, New
York

• The Kimbell Art Museum is a museum in Fort
Worth, Texas, renowned for both its collection
and its iconic buildings designed by Louis Kahn.
• He aimed to create a museum both
“monumental” and adapted to the local
context and climate, a building filled with
natural light, that could be easily expanded in
the future.
Kimbell Art Museum
LOCATED – TEXAS, U.S.A
YEAR – 1966
ART GALLERY + MUSEUM

• The solution conceived by the American architect was a sequence of parallel modular galleries,
covered by 100-foot long barrel vaults supported by two columns at each end; between a
vaulted gallery and the subsequent one, there are smaller flat-roofed exhibition spaces,
called side-galleries.
BARREL VAULT
WATER BODY
SIDE GALLERIES

MUSEUM
• Each barrel vault is actually composed of two curved beams,
made in prestressed concrete.
• In the middle of each vault, a narrow slot coupled with two
curved, reflective lids conveys and diffuses the Texas intense
daylight into the galleries.
• Some galleries are cut by small square courtyards, while two
of them are open on one side so to create the museum’s
entrance porch.
• The building accommodates an entrance lobby, exhibition
spaces, an auditorium, and a cafe, while the basement
contains offices, storage spaces, and a library naturally lit
through an array of light wells.

ART GALLERY
• In the early 2000s, it became evident that the museum’s
collections and activities were growing so much that the Kahn
building would have rapidly become too tight to
accommodate them all.
• Therefore, they design an expansion aimed to accommodate
a new lobby, temporary exhibition galleries, educational
rooms, a library expansion, a 298-seat auditorium, a cafe, a
shop, and an underground parking lot.

Kinjal - moon hoon
1. What were the 2 major inspirations for the architect?
2. What were the architectural features included?
Nishi - British council
1. What does the design reflects?
2. How are the elements of the building arranged?
Manan - park hotel
1. What does the building includes?
2. What are the materials used?
Kashyap - titan integrity
1. What is the feature of bio lake?
2. How is the building oriented and what are the
features?
Sakshi – Mill owner’s association building
1. What are the characteristics of modern architecture?
2. What are different types of spaces included in the building?
Question
Harsh - Guggenheim museum
1. Explain design philosophy of the museum.
2. What were the elements used?
Yukta – Bauhaus School
1. DESCRIBE THE MAIN FEATURES / CHARACTERISTICS OF BAUHAUS
SCHOOL .
Ami.J - Jewish Museum
1. WHAT IS MODERN ARCHITECTURE ? LIST DOWN THE EXAMPLE OF
MORDEN ARCHITECTURE’S BUILDING. EXPLAIN ONE BUILDING IN
BRIEFLY WITH NEAT SKETCHES , PLAN , SECTION , ELEVATION .
2. DISCUSS ON JEWISH MUSEUM AND EXPLAIN THE PHILOSOPHY BEHIND
THE MUSEUM , ITS CONCEPT , FORM , SPACES , CONECTION BETWEEM
INSIDE AND OUTSIDE SPACES ,ELEMENTS , MATERIALS , FAÇADE WITH
NEAT ARCHITECTURAL DIAGARAM AND ANALYTICAL SKETCHES .
3. EXPLAIN THE TERM ‘BETWEEN THE LINE’ IN JEWISH MUSEUM WITH
THE CONCEPT OF THE FORM AND SPACES OF THE BUILDING
Pallav - villa savoye
1. What are the 5 points or elements that are incorporated in villa savoye
architectural style?
2. What are the materials used? And circulation done in villa savoye?
Jainam – Kimbell Art Museum
1. Describe the use of barrel vault in galleries.
2. How is the concept of ‘Natural Light’ by client, reflected in the design?

Thank you

final modernism

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