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![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](https://image.slidesharecdn.com/princepathania2015ara028todtopicpaulrudolphphilosophy-171210144314/75/PAUL-RUDOLPH-PHILOSOPHY-6-2048.jpg)
![• 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 .
.](https://image.slidesharecdn.com/princepathania2015ara028todtopicpaulrudolphphilosophy-171210144314/75/PAUL-RUDOLPH-PHILOSOPHY-12-2048.jpg)
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PAUL RUDOLPH PHILOSOPHY
- 1. ABSTRACT SUBMITTED TO : DR.RAWALSINGH AULAKH SUMITTED BY PRINCE PATHANIA B.ARCH SEM 5 (2015ARA028) THEORY OF DESIGN
- 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'SDESIGN 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 ONEOF 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 WERENOT 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 LITTLESTUDY 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 PANELSAND 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 OF1957, 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 CLIMAXIN 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 AXISPLAN BY PAUL RUDOLPH Hollow RCC Columns RCC Shear walls Gwathmey Siegel’s Addition - History of Art Building Axis
- 12. • INTERNALLY THEBUILDING 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
- 14.