1.

Walter Gropius
2. F.l. Wright
3. Calatrava
4. Mies van der rohe
5. Norman Foster
6. Antoneo Gaudi
7. Zaha Hadid
8. Alvar Alto
9. Hasan Fathy
10. B.v.Doshi
11. Charles Correa
12. A.P. Kanvinde
13. Le Corbusier
14. Kisho Kurukawa
15. Nari Gandhi
16. Uttam Jain
17. Robert Venturi
18. Geoffrey Bawa
19. Raj Rewal
20. Frank o Gehri



1.INTRODUCTION
alter Adolph Georg Gropius (May 18, 1883 July 5, 1969) was a German
architect and founder of the Bauhaus School, who, along with Ludwig Mies van
der Rohe, Le Corbusier and Frank Lloyd Wright, is widely regarded as one of the
pioneering masters of modern architecture.
2.EARLY LIFE
Born in Berlin, Walter Gropius was the third child of Walter Adolph Gropius and Manon
Auguste Pauline Scharnweber.
Gropius married Alma Mahler (18791964), widow of Gustav Mahler. Walter and Alma's
daughter, named Manon after Walter's mother, was born in 1916. When Manon died of polio at
age 18, composer Alban Berg wrote his Violin Concerto in memory of her (it is inscribed "to the
memory of an angel"). Gropius and Alma divorced in 1920. (Alma had by that time established a
relationship with Franz Werfel, whom she later married).
3.MORE ABOUT WALTER GROPIUS
Although Gropius is best known for the Bauhaus style, his architectural reputation was first
established when, working with Adolph Meyer, he designed the Fagus Works (1910-1911) and
the office building for the Werkbund exhibition in Cologne (1914).
W
Walter Gropius opposed the Nazi regime and left Germany secretly in 1934. After several years
in England, Gropius began teaching architecture at Harvard University. As a Harvard professor,
Gropius introduced Bauhaus concepts and design principles - teamwork standardization, and
prefabrication - to a generation of American architects.
Between 1938 to 1941, Gropius worked on several houses with Marcel Breuer. They formed the
Architects Collaborative in 1945. Among their commissions were the Harvard Graduate Center
(1946), the U.S. Embassy in Athens and the University of Baghdad. One of Gropius's later
designs, in collaboration with Pietro Belluschi, was the Pam Am Building (now the Metropolitan
Life Building) in New York City.
4.PHILOSOPHY
Walter Gropius believed that all design should be functional as well as aesthetically pleasing. His
Bauhaus school pioneered a functional, severely simple architectural style, featuring the
elimination of surface decoration and extensive use of glass.
5.SELECTED WORKS
1910-1911: Fagus Works, Alfred an der Leine, Germany
1925: The Bauhaus Building, Dessau, Germany
1937: Gropius House, Lincoln, MA
1950: Harvard Graduate Center, Cambridge, MA
1963: Pan Am Building, in collaboration with Pietro Belluschi. Now MetLife, the building
became part of New York's Grand Central Terminal City.


6.BAUHAUS PERIOD (19191932)


Bauhaus (built 19251926) in Dessau, Germany




Walter Gropius's Monument to the March Dead (1921) dedicated to the memory of nine workers
who died in Weimar resisting the Kapp Putsch.


7.BEST PROJECT
Gropius House
The Gropius House was the family residence of noted architect Walter Gropius at 68 Baker
Bridge Road, Lincoln, Massachusetts. It is now owned by Historic New England and is open to
the public Wednesday through Sunday (June 1 October 15, and weekends (October 16 May
31). An admission fee is charged.




Gropius House
This house was his first architectural commission in the United States. He designed it in 1937,
when he came to teach at Harvard University's Graduate School of Design, and it was built in
1938. He chose the area because of its proximity to Concord Academy which his daughter, Ati,
was going to attend. It remained Gropius' home from 1938 until his death in 1969. (Gropius had
a benefactor. Mrs. James J. Storrow offered him the site and the capital and was so pleased with
the result that she allocated house sites to four other professors as well, two of which Gropius
helped design.)
The house caused a sensation when built. In keeping with Bauhaus philosophy, every aspect of
the house and its surrounding landscape was planned for maximum efficiency and simplicity.
Gropius carefully sited the house to complement its New England habitat on a rise within an
orchard of 90 apple trees. His screened porch was placed in such a way that it helps to divide the
land around the house into multiple zones, comparable to rooms inside a house.





















F.L . WRIGHT


1.INTRODUCTION
rank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 April 9, 1959) was
an American architect, interior designer, writer and educator, who designed more than
1000 structures and completed 532 works. Wright believed in designing structures
which were in harmony with humanity and its environment, a philosophy he called organic
architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which
has been called "the best all-time work of American architecture". Wright was a leader of the
Prairie School movement of architecture and developed the concept of the Usonian home, his
unique vision for urban planning in the United States.
2.EARLY LIFE
Frank Lloyd Wright was born Frank Lincoln Wright in the farming town of Richland Center,
Wisconsin, United States, in 1867. His father, William Carey Wright (18251904), was a locally
admired orator, music teacher, occasional lawyer, and itinerant minister. William Wright had met
and married Anna Lloyd Jones (1838/39 1923), a county school teacher, the previous year
when he was employed as the superintendent of schools for Richland County.


3.MORE ABOUT F.L.WRIGHT
F
Frank Lloyd Wright never attended architecture school. As a child, he worked on his uncle's
farm in Wisconsin, and he later described himself as an American primitive - an innocent but
clever country boy whose education on the farm made him more perceptive and more down-to-
earth.
Frank Lloyd Wright pioneered a long, low style known as the Prairie house. He experimented
with obtuse angles and circles, creating unusually shaped structures such as the spiral
Guggenheim Museum (1943-49). He developed a series of low-cost homes that he called
Usonian. And most importantly, Frank Lloyd Wright changed the way we think of interior space.
See Frank Lloyd Wright Interiors The Architecture of Space for examples.
Frank Lloyd Wright was married three times and had seven children. His work was controversial
and his private life was often the subject of gossip. Although his work was praised in Europe as
early as 1910, it was not until 1949 that he received an award from American Institute of
Architects.
4.PHILOSOPHY
For Wright, design and form acquired a symbolic meaning. Architecture can embody
"picturesque" qualities that harmonize with the environment.
Architectural beauty is seen as a reflection of the harmony that manifests from the integration of
design, plan, form and materials. This is Wright's "organic" approach to design.
Architectural beauty is a natural outcome of the clear design plan of simple and harmonious
relationships. All elements of a structure should be designed with economy according to the
natural principles of geometrical relationships and the unadulterated use of appropriate materials.
Wright used different basic geometrical forms, usually squares and rectangles to produce the
distinctive forms, particularly in regards to the Prairie house designs. Wright's "organic"
approach to design of the exteriors were also carried to that of the interiors. In this way, Wright
is considered to be very much part of the modernist agenda in the early twentieth century
architecture. His approach favoured a moving away of traditional construction practices, in
favour of new and innovative freedoms in design.
Wright's design solution was to view all details of a structure as the product of a single
independent mind - including all major and minor ornamental and symbolic elements.
An important aspect for design is the value that ornament should be based upon the abstraction
of nature.
Wright developed his own distinctive ornamental vocabulary. With it he strove to unify the
interior and exterior of a design through its decorative detailing. By employing this method,
Wright sought to unify structural and aesthetic elements into a single composite form.
Architectural beauty being the product of combining simple forms and expressing harmonious
relationships.
5.SELECTED WORKS
FLW Buildings: Complete Directory
Robie House, Chicago, Illinois
Unity Temple, Oak Park, Illinois
Taliesin, Wisconsin
Taliesin West, Arizona
Florida Southern College
Fallingwater, Pennsylvania
Guggenheim Museum, New York City
Beth Sholom Synagogue, Elkins Park, Pennsylvania
Interior Decor




The Walter Gale House (1893) is Queen Anne in style yet features window bands and a
cantilevered porch roof which hint at Wright's developing aesthetics



William H. Winslow House (1893) in River Forest, Illinois



Wright's studio (1898) viewed from Chicago Avenue



6.BEST PROJECT
Falling water
Fallingwater or Kaufmann Residence is a house designed by architect Frank Lloyd Wright in
1935 in rural southwestern Pennsylvania, 43 miles (69 km) southeast of Pittsburgh. The home
was built partly over a waterfall on Bear Run in the Mill Run section of Stewart Township,
Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.
Hailed by Time shortly after its completion as Wright's "most beautiful job" it is listed among
Smithsonian's Life List of 28 places "to visit before you die." It was designated a National
Historic Landmark in 1966. In 1991, members of the American Institute of Architects named the
house the "best all-time work of American architecture" and in 2007, it was ranked twenty-ninth
on the list of America's Favorite Architecture according to the AIA.
Design and construction
Once Wright had decided the location of the house, he had the obvious problem of building it
there. The location of the north bank of Bear Run was not large enough to provide a foundation
for a typically built Wright house.
Beyond this issue, there were also the clients' needs that had to be met. The Kaufmanns planned
to entertain large groups of people, so the house would need to be larger than the plot allowed.
Also, Mr. and Mrs. Kaufmann requested separate bedrooms as well as a bedroom for their adult
son and an additional guest room.
Wright's solution to the problem of space came when he decided on a cantilevered structure. The
structural design for Falling water was undertaken by Wright in association with staff engineers
Mendel Glickman and William Wesley Peters, who had been responsible for the columns
featured in Wrights revolutionary design for the Johnson Wax Headquarters.
Preliminary plans were issued to Kaufmann for approval on October 15, 1935, after which
Wright made a further visit to the site and provided a cost estimate for the job. In December
1935 an old rock quarry was reopened to the west of the site to provide the stones needed for the
houses walls. Wright only made periodic visits during construction, instead assigning his
apprentice Robert Mosher as his permanent on-site representative. The final working drawings
were issued by Wright in March 1936 with work beginning on the bridge and main house in
April 1936.
The construction was plagued by conflicts between Wright, Kaufmann, and the construction
contractor. Uncomfortable with what he saw as Wright's insufficient experience using reinforced
concrete, Kaufmann had the architect's daring cantilever design reviewed by a firm of consulting
engineers. Upon receiving their report, Wright took offense and immediately requested
Kaufmann to return his drawings and indicated he was withdrawing from the project. Kaufmann
relented to Wright's gambit and the engineers report was subsequently buried within a stone
wall of the house.


The interior of Falling water depicting a Driveway leading to the entrance
sitting area



















SANTIAGO
CALATRAVA

1.INTRODUCTION
antiago Calatrava Valls, born 28 July 1951) is a Spanish architect, sculptor and structural
engineer whose principal office is in Zrich, Switzerland. He has offices in Zrich, Paris
and in New York City, where he now resides.
Born
28 July 1951 (age 62)
Benimmet, Valencia, Spain
Nationality Spanish
Education
Polytechnic University of Valencia
Swiss Federal Institute of Technology
2.EARLY LIFE
Calatrava was born in Benimmet, an old municipality now integrated as an urban part of
Valencia, Spain, where he took an undergraduate architecture degree at the Polytechnic
University of Valencia. There he completed independent projects with fellow students,
publishing two books on the vernacular architecture of Valencia and Ibiza. In 1975 he enrolled in
the Swiss Federal Institute of Technology in Zrich, Switzerland for graduate work in civil
engineering. In 1981, after completing his doctoral thesis, "On the Foldability of Space Frames",
he started his architecture and engineering practice.
S
3.MORE ABOUT SANTIAGO CALATRAVA
Architect, engineer, and sculptor, Santiago Calatrava received an AIA commemorative gold
medallion in 2012 as one of the 15 Architects of Healing for his transportation hub design, a new
train and subway station at the World Trade Center site in New York City. Calling Calatrava's
work "open and organic," the New York Times said that the new terminal will evoke the kind of
uplifting spirituality that is needed on Ground Zero. However, reconstruction plans in New York
have undergone so many revisions, much of Calatrava's original vision has been lost.
4.PHILOSOPHY
Santiago Calatrava symbolises a perfect blend of architecture and engineering capabilities at
their best. Being a sculptor and a Painted only added to it and he though unknowingly advocated
the philosophy of what a true Designer should be, encompassing all form of arts. He carried out
extensive studies of anatomy of human, birds and animals and truly so his designs reflected his
philosophy. Calatravas dynamic designs integrate technology and aesthetics producing
structural forms that challenge traditional practice in both architecture and engineering.
5.SELECTED WORKS
1989-1992: Alamillo Bridge, Seville, Spain
1991: Montjuic Communications Tower, at the 1992 Olympic site in Barcelona, Spain
1996: City of Arts and Sciences, Valincia, Spain
1998: Gare do Oriente Station, Lisbon, Portugal
2001: Milwaukee Art Museum, Quadracci Pavilion, Milwaukee, Wisconsin
2003: Ysios Wine Estate Laguardia, Spain
2003: Tenerife Concert Hall in Santa Cruz, Tenerife, Canary Islands
2005: The Turning Torso, Malm, Sweden
2009: Train Station, Lige, Belgium
2012: Trinity River Corridor Bridges, Dallas, Texas



Atrium of Brookfield Place, Toronto, L'Umbracle at Valencia, Spain (1996)
Canada (1992)




Ciutat de les Artsiles Cincies, Valencia, Milwaukee Art Museum in Milwaukee
Spain

6.BEST PROJECT
Milwaukee Art Museum
Established 1882
Location
700 N. Art Museum Drive
Milwaukee, Wisconsin
United States
Type Art museum
Visitors 350,000+

The Milwaukee Art Museum (MAM) is an art museum with a collection of over 30,000 works
of art serving over 350,000 visitors a year. The campus of three buildings is located on Lake
Michigan in Milwaukee, Wisconsin. The Museum's stated mission is to "collect and preserve art,
presenting it to the community as a vital source of inspiration and education".
The 341,000-square-foot (31,700 m
2
) Museum includes the War Memorial Center (1957)
designed by Finnish-American architect Eero Saarinen, the Kahler Building (1975) by David
Kahler, and the Quadracci Pavilion (2001) created by Spanish architect Santiago Calatrava. The
Reiman Bridge, also designed by Calatrava, connects to the pavilion and provides pedestrian
access to and from downtown Milwaukee.






















































LUDWIG MIES VAN
DER ROHE

1.INTRODUCTION
udwig Mies van der Rohe (born Maria Ludwig Michael Mies; March 27, 1886
August 19, 1969) was a German-US-American architect. He is commonly referred to,
and was addressed, as Mies, his surname. He served as the last director of
Berlin's Bauhaus, and then headed the department of architecture, Illinois Institute of
Technology in Chicago, where he developed the Second Chicago School. Along with Le
Corbusier, Alvar Aalto, andFrank Lloyd Wright, he is widely regarded as one of the pioneering
masters of modern architecture.
2.EARLY LIFE
Mies was born in Aachen, Germany. He worked in his father's stone-carving shop and at several
local design firms before he moved to Berlin, where he joined the office of interior
designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter
Behrens from 1908 to 1912, where he was exposed to the current design theories and to
progressive German culture, working alongside Walter Gropius and Le Corbusier, who were
later also involved in the development of the Bauhaus. Mies served as construction manager of
the Embassy of the German Empire in Saint Petersburg under Behrens.
His talent was quickly recognized and he soon began independent commissions, despite his lack
of a formal college-level education. A physically imposing, deliberative, and reticent man,
Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an
architect working with Berlin's cultural elite, adding "van der" and his mother's surname
L
"Rohe", using the Dutch "van der", rather than the German form "von" which was legally
restricted to those of genuine aristocratic lineage.
He began his independent professional career designing upper-class homes, joining the
movement seeking a return to the purity of early nineteenth-century Germanic domestic styles.
He admired the broad proportions, regularity of rhythmic elements, attention to the relationship
of the man-made to nature, and compositions using simple cubic forms of the early nineteenth
century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and
cluttered classical styles so common at the turn of the twentieth century as irrelevant to the
modern times.
3.MORE ABOUT LUDWIG MIES VAN DER ROHE
The United States has a love-hate relationship with Mies van der Rohe. Some say that he
stripped architecture of all humanity, creating cold, sterile and unlivable environments. Others
praise his work, saying he created architecture in its most pure form.
Ludwig Mies van der Rohe began his career in his family stone-carving business in Germany. He
never received any formal architectural training, but when he was a teenager he worked as a
draftsman for several architects. Moving to Berlin, he found work in the offices of architect and
furniture designer Bruno Paul and industrial architect Peter Behrens.
Early in his life, Mies van der Rohe began experimenting with steel frames and glass walls. He
was director of the Bauhaus School of Design from 1930 until it disbanded in 1933. He moved to
the United States in 1937 and for twenty years (1938-1958) he was Director of Architecture at
the Illinois Institute of Technology.


4.PHILOSOPHY
Mies van der Rohe was plagued by arthritis for the majority of his later life. Although involved
to the best of his ability Ludwig would never see the completion of the National Gallery. He died
in Chicago, August, 17, 1969.
He died leaving a legacy of revolutionary architecture. Other then the buildings themselves he is
remembered by his approach to architecture, categorized by such sayings as:
God is in the details.
Architecture is the will of an epoch translated into space.
Thoughts in action.
5.SELECTED WORKS
1928-29: Barcelona Pavilion
1950: Farnsworth House, Plano, Illinois
1951: Lake Shore Drive Apartments, Chicago
1956: Crown Hall, Chicago
1958: Seagram Building, New York (with Philip Johnson)
1959-74: Federal Center, Chicago
Furniture Designs by Mies van der Rohe:
1927-30: Arm Chair
1929: The Barcelona Chair
1931: Side Chair (MR 10) (With Lilly Reich)




Villa Tugendhat built in 1930 in Brno Barcelona Pavilion, 1929.

6.BEST PROJECT

Seagram Building
In 1958, Mies van der Rohe designed what is often regarded as the pinnacle of the modernist
high-rise architecture, the Seagram Building in New York City. Mies was chosen by the daughter
of the client, Phyllis Bronfman Lambert, who has become a noted architectural figure and patron
in her own right. The Seagram Building has become an icon of the growing power of the
corporation, that defining institution of the twentieth century. In a bold and innovative move, the
architect chose to set the tower back from the property line to create a forecourt plaza and
fountain on Park Avenue.
Although now acclaimed and widely influential as an urban design feature, Mies had to convince
Bronfman's bankers that a taller tower with significant "unused" open space at ground level
would enhance the presence and prestige of the building. Mies' design included a bronze curtain
wall with external H-shaped mullions that were exaggerated in depth beyond what was
structurally necessary. Detractors criticized it as having committed Adolf Loos's "crime of
ornamentation". Philip Johnson had a role in interior materials selections, and he designed the
sumptuous Four Seasons Restaurant, which has endured un-remodeled to today. The Seagram
Building is said to be an early example of the innovative "fast-track" construction process, where
design documentation and construction are done concurrently.




























NORMAN FOSTER

1.INTRODUCTION
ritzker Prize-winning British architect Norman Foster is famous for "High Tech" design
that explores technological shapes and ideas. In addition to winning the world's most
prestigious awards for architecture, he has been knighted by Queen Elizabeth II. Foster
was raised in Manchester in a working-class family and was intrigued by design and engineering
from a young age. His years observingMancunian architecture subsequently influenced his
works, and was inspired to pursue a career in architecture after a treasurer clerk noticed his
sketches and interest in Manchester's buildings while he worked at Manchester Town Hall.
Born:
June 1, 1935 in Manchester, England.
2.EARLY LIFE
Born in a working class family, Norman Foster did not seem likely to become a famous architect.
Although he was a good student in high school and showed an early interest in architecture, he
did not enroll in college until he was 21 years old. Foster won numerous scholarships during his
years at Manchester University, including one to attend Yale University in the United States.
In 1963 Foster co-founded the successful "Team 4" architectural firm with his wife, Wendy
Foster, and the husband and wife team of Richard Rogers and Sue Rogers. His own firm, Foster
Associates (Foster + Partners), was founded in London in 1967.
P
3.MORE ABOUT NORMAN FOSTER
Foster Associates became known for "High Tech" design that explored technological shapes and
ideas. In his work, Sir Norman Foster often uses off-site manufactured parts and the repetition of
modular elements. The firm frequently designs special components for these high-tech modernist
buildings.
4.PHILOSOPHY
Norman Foster understands that the places where we live and work have a great influence on
people. He also thinks that urban places are decisive factors in our standard of living. Foster
thinks that architecture is about the needs of people, the material needs, the things that you can
measure. Architecture should give us warm when it is cold outside and give us cool when it is
hot outside. In his opinion, architecture should protect us from the elements from the outside.
The architect thinks that in spite of a protection function, architecture it is also about the spiritual
dimension, about the things that move us and make us feel happy and comfortable. He convinces
that you can call it any word you like, you can call it beautiful, esthetic, welcoming or friendly
but it is something that will make us feeling good. Architecture is about a social agenda.
His designs show completely this way of thinking. His designs stand out for taking a full
advantage of technology. Technology is used in the search for greater energy efficiency,
excellent integration with the environment, creating a user-friendly atmosphere and easy-to-use
facilities.
He thinks that it becomes more evident that a political initiative is needed to produce a holistic
approach to design. He convinces that the main question is, whether we will get the message
early enough or late for us. Currently we see a lot of deadlines slipping by and not being met. He
thinks that sustainability is not a matter of fashion but it is truly a matter of survival. The
architect convinces that more and more people inhabit cities, the majority of the planet. So, if we
create new cities, which we have to, they need to be sustainable, clean, inviting, not polluting
and harvesting energy. They have to transform, improve public spaces, ensure a richer mix of
activities, that would be safer, more secure, and of course sustainable. He thinks that is a dream
but a practical one.
5.SELECTED WORKS
1970-74: Willis Faber and Dumas Building, Ipswich, United Kingdom
1977: Sainsbury Centre, Norwich, United Kingdom
1979-86: Hongkong and Shanghai Bank, Hong Kong
1987-1991: Century Tower Bunkyo-ku, Tokyo, Japan
1987-1997: American Air Museum, Duxford, United Kingdom
1988-1995: Metro Entrance, Bilbao, Spain
1989-1992: Cranfield University Library, Bedfordshire, United Kingdom
1990-1995: Faculty of Law, University of Cambridge, United Kingdom
1991-1993: Lyce Albert Camus, Frjus, France
1991-97: Commerzbank , Frankfurt, Germany
1992-99: New German Parliament, Berlin, Germany
1995-2001: Daewoo Research and Development, Seoul, South Korea
1998-2003: Albion Riverside, London, United Kingdom
2001-2006: Hearst Tower, New York City
2008: Terminal T3, Beijing, China


The Hearst Tower in New 30 St Mary Axe.
York City.

























ZAHA HADID

1.INTRODUCTION
Zaha Hadid
Born





Zaha Mohammad Hadid
31 October 1950 (age 63)
Baghdad , Iraq
Nationality British


Alma Mater Architectural Association School of Architecture
American university of Beirut

Buildings
MAXXI ,Bridge Pavilion , Maggies Centre, Contemporary
Arts Center






BMW Central Building, Leipzig, Germany


Vitra fire station, Weil am Rhein, Germany

Maggies Centre , Kirkcaldy

2.EARLY LIFE AND EDUCATION
Zaha Hadid was born on 31 October 1950 in Baghdad , Iraq. She grew up in one of Baghdad's
first Bauhaus-inspired buildings during an era in which modernism connoted glamor and
progressive thinking" in the Middle East.
She received a degree in mathematics from the American University of Beirut before moving to
study at the Architectural Association School of Architecture in London, where she met Rem
Koolhaas,Elia Zenghelis, and Bemard Tschumi. She worked for her former professors, Koolhaas
and Zenghelis, at theOffice for Metropolitan Architecture, in Rotterdam, the Netherlands; she
became a partner in 1977. Through her association with Koolhaas, she met Peter Rice the
engineer who gave her support and encouragement early on at a time when her work seemed
difficult. In 1980, she established her own London-based practice. During the 1980s, she also
taught at the Architectural Association.
3.INTERIOR ARCHITECTURE AND PRODUCT DESIGN
She has also undertaken some high-profile interior work, including the Mind Zone at the
Millenium Dome in London as well as creating fluid furniture installations within the Georgian
surroundings of Home House private members club in Marylebone, and the Z.CAR hydrogen-
powered, three-wheeled automobile. In 2009 she worked with the clothing brand Lacoste, to
create a new, high fashion, and advanced boot. In the same year, she also collaborated with the
brassware manufacturer Triflow Conceptsto produce two new designs in her signature
parametric architectural style.

The Serpentine Sackler gallery.

Hadid-designed Sheikh Zayed bridge in Abu Dhabi. Photograph: Alamy


The aquatics centre at the Olympic Park, London. Photograph: Clive Rose
4.ACHIEVEMENTS
Zaha Hadid's architectural design firm - Zaha Hadid Architects - is over 350 people strong,
headquartered in a Victorian former school building in Clerkenwell, London.
In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women". On 2
January 2009, she was the guest editor of the BBC's flagship morning radio news
programme, Today.
In 2010 she was named by Time magazine as influential thinker in the 2010 TIME 100 issue. In
September 2010, The British magazine New Statesman listed Zaha Hadid at number 42 in their
annual survey of "The World's 50 Most Influential Figures 2010".
She won the 2010 Stirling Prize for one of her most celebrated work, the Maxxi in Rome.
Hadid is the designer of the Dongdaemun Design Plaza & Park in Seoul, South Korea, which is
expected to be the centerpiece of the festivities for the city's designation as World Design Capital
2010. In 2009, she worked with the clothing brand Lacoste, to create a new, high fashion, and
advanced boot. In the same year, she also collaborated with the brassware manufacturer Triflow
Concepts to produce two new designs in her signature parametric architectural style. Her unique
contributions to brassware design and other fields continue to push the boundaries of innovation.

5.COMPLETED PROJECTS
Vitra Fire Station (1994), Weil am Rhein, Germany
Bergisel Ski Jump (2002), Innsbruck, Austria
Rosenthal Center for Contemporary Art (2003), Cincinnati, Ohio, USA
Hotel Puerta America (2003-2005), Madrid, Spain
BMW Central Building (2005), Leipzig, Germany
Ordrupgaard annexe (2005), Copenhagen, Denmark
Phaeno Science Center (2005), Wolfsburg, Germany
Maggie's Centres at the Victoria Hospital (2006), Kirkcaldy, Scotland
Hungerburgbahn new stations (2007), Innsbruck, Austria
Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York, London, Paris,
Moscow, (200608)
Bridge Pavilion (2008), Zaragoza, Spain
Pierresvives (200212), Montpellier, France, project architect: Stephane Hof
MAXXI - National Museum of the 21st Century Arts (19982010), Rome, Italy. Stirling
Prize 2010 winner.
Guangzhou Opera House (2010), Guangzhou, People's Republic of China.
Galaxy SOHO in Beijing, China.
London Aquatics Centre (2011), 2012 Summer Olympics, London, UK.
Riverside Museum (200711) development of Glasgow Transport Museum, Scotland
CMA CGM Tower (200411), Marseilles, France
Evelyn Grace Academy (200610) in Brixton, London, UK. Stirling Prize 2011 winner.
Roca London Gallery (200911) in Chelsea Harbour, London, UK.
Heydar Aliyev Cultural Centre (200712) in Baku, Azerbaijan.
Eli and Edythe Broad Art Museum (201012), East Lansing, Michigan, USA





















ALVAR ALTO


1.INTRODUCTION
ugo Alvar Henrik Aalto (3 February 1898 11 May 1976) was a finnish architect and
designer. His work include architecture, furniture, textiles and glassware. Aalto's
early career runs in parallel with the rapid economic growth and industrialization of
Finland during the first half of the twentieth century and many of his clients were industrialists;
among these were the Ahlstrm-Gullichsen family. The span of his career, from the 1920s to the
1970s, is reflected in the styles of his work, ranging from Nordic Classicism of the early work, to
a rational International Style Modernism during the 1930s to a more organic modernist style
from the 1940s onwards. What is typical for his entire career, however, is a concern for design as
a Gesamtkunstwerk, a total work of art; whereby he together with his first wife Aino Aalto
would design not just the building, but give special treatments to the interior surfaces and design
furniture, lamps, and furnishings and glassware. The Alvar Aalto Museum, designed by Aalto
himself, is located in what is regarded as his home city Jyvskyl.
2.EARLY LIFE
Hugo Alvar Henrik Aalto was born in Kuortane, Finland. His father, Johan Henrik Aalto, was a
Finnish-speaking land-surveyor and his mother, Selly (Selma) Matilda (ne Hackstedt) was a
Swedish-speaking postmistress. When Aalto was 5 years old, the family moved to Alajrvi, and
H
from there to Jyvskyl in Central Finland. Aalto studied at the Jyvskyl Lyceum school,
completing his basic education in 1916. In 1916 he then enrolled to study architecture at
the Helsinki University of Technology. His studies were interrupted by the Finnish War of
Liberation, which he fought in. Afterwards, he continued his education, graduating in 1921.
3.EARLY CAREER: CLASSICISM
Although he is sometimes regarded as among the first and most influential architects of
Nordic modernism, a closer examination of the historical facts reveals that Aalto (while a
pioneer in Finland) closely followed and had personal contacts with other pioneers in Sweden, in
particular Gunnar Asplundand Sven Markelius. What they and many others of that generation in
the Nordic countries had in common was that they started off from a classical education and
were first designing in the so-called Nordic Classicism style a style that had been a reaction to
the previous dominant style of National Romanticism before moving, in the late 1920s, towards
Modernism. On returning to Jyvskyl in 1923 to establish his own architect's office, Aalto
busied himself with a number of single-family homes, all designed in the classical style, such as
the manor-like house for his mother's cousin Terho Manner in Tysa in 1923, a summer villa for
the Jyvskyl chief constable in 1923 and the Alatalo farmhouse in Tarvaala in 1924. During this
period he also completed his first public buildings, the Jyvskyl Workers' Club in 1925, the
Jyvskyl Defence Corps building in 1926 and the Seinajoki Defence Corp building in 1924-29.
Aalto also entered several architectural competitions for prestigious state public buildings, both
in Finland and abroad, including the two competitions for the Finnish Parliamentary building in
1923 and 1924, the extension to the University of Helsinki in 1931, and the building to house
the League of Nations in Geneva, Switzerland, in 1926-27. Furthermore, this was the period
when Aalto was most prolific in his writings, with articles for professional journals and
newspapers. Among his most well-known essays from this period are "Urban culture" 1924),
"Temple baths on Jyvskyl ridge" (1925), "Abb Coignard's sermon" (1925), and "From
doorstep to living room" (1926).


4.EARLY

CAREER
:
FUNCTIONALISM

The shift in Aalto's design approach from classicism to modernism is epitomized by the Viipuri
Library (192735), which went through a transformation from an originally classical competition
entry proposal to the completed high-modernist building. Yet his humanistic approach is in full
evidence in the library: the interior displays natural materials, warm colours, and undulating
lines. Due to problems over financing and a change of site, the Viipuri Library project lasted
eight years, and during that same time he also designed the Turun Sanomat Building (192930)
and Paimio Sanatorium (192932). Thus, the Turun Sanomat Building first heralded Aalto's
move towards modernism, and this was then carried forward both in the Paimio Sanatorium and
in the on-going design for the library. Although the Turun Sanomat Building and Paimio
Sanatorium are comparatively pure modernist works, they too carried the seeds of his
questioning of such an orthodox modernist approach and a move to a more daring, synthetic
attitude. It has been said that his work on two of these three buildings (not the Viipuri Library)
showed similarities to Walter Gropius' style, in particular his work on the Bauhaus school of
design in Dessau. His work on the Viipuri building started to show his individuality in a
departure from the European norms.

5.MID CAREER: EXPERIMENTATION
Aalto's early experiments with wood and his move away from a purist modernism would be
tested in built form with the commission to design Villa Mairea (1939) in Noormarkku, the
luxury home of the young industrialist couple Harry and Maire Gullichsen. It was Maire
Gullichsen who acted as the main client, and she worked closely not only with Alvar but also
Aino Aalto on the design, inspiring them to be more daring in their work. The original design
was to include a private art gallery, but this was never built. The building forms a U-shape
around a central inner "garden" the central feature of which is a kidney-shaped swimming pool.
Adjacent to the pool is a sauna executed in a rustic style, alluding to both Finnish and Japanese
precedents. The design of the house is a synthesis of numerous stylistic influences, from
traditional Finnish vernacular to purist modernism, as well as influences from English and
Japanese architecture. While the house is clearly intended for a wealthy family, Aalto
nevertheless argued that it was also an experiment that would prove useful in the design of mass
housing.




6.BEST PROJECT
The Alvar Aalto Museum

The Alvar Aalto Museum is sited on a slope leading down towards Lake Jyvsjrvi. Alvar
Aalto's design for the museum building was completed in 1973. The building, together with that
of the Museum of Central Finland (Alvar Aalto 1961) form a centre of culture in the immediate
vicinity of the University of Jyvskyl (Alvar Aalto 1951-1971).
Both the museum buildings are representative of Aalto's 'white period', but they differ in their
external appearance and scale from other public buildings of the same period. The decade that
separates the design of the buildings can be seen particularly in the elevations; the rectangular
shaped faade of the Museum of Central Finland rising up out of the slope is a reflection of the
geometric practicality of Functionalism, while the Alvar Aalto Museum is more closed in, but at
the same time more free in its form. In the early 1990s, the Museum of Central Finland was
extended into Ruusupuisto, the adjoining park, according to the designs of Elissa Aalto.
Above a high, white-painted concrete plinth, the elevations of the Alvar Aalto Museum are clad
in light-coloured ceramic tiles named 'Halla', the Finnish word for 'Frost', and made by the
famous Finnish porcelain manufacturers, Arabia. The vertical bands of baton-shaped, glazed tiles
divide up the rampart-like elevations to form a relief that gives a strong effect of depth when the
surface is washed with light. The rampart-like quality is emphasised by the vertical battens on
the roof windows of the exhibition galleries, which cause the roof lights to merge into the faade
when looked at from a certain angle.
The entrance faade has no windows apart from a few tiny openings close to the doors. The
surface of the massive doors is copper and there is a hint of marble on the left-hand side of the
doorway. The roofscape is dominated by the east-facing roof lights.
The lower floor houses the foyer and cloakrooms, caf, Alvar Aalto Museum Shop, offices,
library and space for storage and for the photographer. There is a small flat at the back of the
building containing offices, plus a studio formerly used by the local society of artists, which now
acts as the museum workshop 'URBS'. From the caf there is a view towards a series of open-air
pools, with water trickling from one to another along the route of what was once a natural
stream. Light draws one from the dimly-lit foyer to the stairway leading up to large exhibition
gallery on the upper floor.
The upper-floor exhibition gallery is about 700 m
2
in area. The wave-like surface of the high rear
wall clad in pine battens is a reminder of the wall of Aalto's pavilion at the New York World's
Fair in 1939. Daylight filters into the gallery through the roof lights. Despite its lightness, the
space is contained and intimate. The large exhibition hall houses the museum's permanent
exhibition - Alvar Aalto, Architect. n the Gallery there are changing exhibitions on architecture
and design.
The Alvar Aalto Museum has a total area of 1750 m
2
and a volume of about 7550 m
3
.

























B.V.DOSHI

1.INTRODUCTION
.V.Doshi born 26 August 1927 is an Indian architect, considered an important figure
of South Asian architecture and noted for his contributions to the evolution of
architectural discourse in India. He is known for his contributions to the architecture
of Indian Institute of Management Bangalore
2.EARLY LIFE
After having worked for four years between 1951-54 with Le Corbusier in Paris, B. V. Doshi
returned to Ahmedabad to supervise Le Corbusier's projects. His studio, Vastu-Shilpa
(environmental design), was established in 1955. Doshi worked closely with Louis Kahn and
Anant Raje, when Kahn designed the campus of the Indian Institute of Management,
Ahmedabad. In 1958 he was a fellow at the Graham Foundation for Advanced Studies in the
Fine Arts. He then started the School of Architecture (S.A) in 1962.
Doshi is a Fellow of the Royal Institute of British Architects, and has been on the selection
committee for the Pritzker Prize, the Indira Gandhi National Centre for Arts, and the Aga Khan
Award for Architecture. He is also a Fellow of the Indian Institute of Architects.
B
Apart from his international fame as an architect, Dr. Doshi is equally known as an educator and
institution builder. He has been the first founder Director of the School of Architecture,
Ahmedabad (196272), first founder Director of the School of Planning (197279), first founder
Dean of the Centre for Environmental Planning and Technology (197281), founder member of
the Visual Arts Centre, Ahmedabad and first founder Director of the Kanoria Centre for Arts,
Ahmedabad. Dr. Doshi has been instrumental in establishing the nationally and internationally
known research institute Vastu-Shilpa Foundation for Studies and Research in Environmental
Design. The institute has done pioneering work in low cost housing and city planning.
As an academician, Dr. Doshi has been visiting the USA and Europe since 1958 and has held
important chairs in American Universities.
3.SELECTED WORKS
1979-80 Sangath, BV Doshi's office, Ahmedabad
1972 Centre for Environment and Planning Technology (CEPT), Ahmedabad
1962-74 Indian Institute of Management Bangalore
1989 National Institute of Fashion Technology, Delhi
1990 Amdavad ni Gufa, Ahmedabad
Aranya Low Cost Housing, Indore
IFFCO township, Kalol
Sawai Gandharva, Pune
Premabhai Hall, Ahmedabad
Tagore Hall, Ahmedabad





















CARLES CORREA


1.INTRODUCTION
harles Correa (born September 1, 1930) is a noted Indian architect, urban
planner and activist. An influential architect credited for the creation of modern
architecture in post-Independence India. He is noted for his sensitivity to the needs of
the urban poor and for his use of traditional methods and materials.
He has been awarded the Padma Shri in 1972, and second highest civilian honour, the Padma
Vibhushan in 2006, given by Government of India. He was also awarded the 1984 Royal Gold
Medal for architecture, by the Royal Institute of British Architects.
2.EARLY LIFE
Charles Mark Correa was born on September 1, 1930, in Secunderabad, India.
Correa began his higher studies at St. Xavier's College, Mumbai at the University of Bombay
(now Mumbai), and he went on to study at the University of Michigan at Ann Arbor (194953)
and the Massachusetts Institute of Technology (MIT) in Cambridge, Massachusetts (195355).
In 1958 he established his own Bombay-based professional practice.


C

3.AWARDS
RIBA Royal Gold Medal - 1984.
Padma Vibhushan (2006) and Padma Shri (1972).
Praemium Imperiale (1994)
7th Aga Khan Award for Architecture for Madhya Pradesh Legislative Assembly (1998)
Austrian Decoration for Science and Art (2005)
His acclaimed design for McGovern Institute for Brain Research at MIT was dedicated
recently.
4.MORE ABOUT CHARLES CORREA
Charles Correa is a major figure in contemporary architecture around the world. With his
extraordinary and inspiring designs, he has played a pivotal role in the creation of an architecture
for post-Independence India. All of his work - from the carefully detailed memorial Mahatma
Gandhi Memorial Museum at the Sabarmati Ashram in Ahmedabad to Kanchanjunga Apartment
tower in Mumbai, the Jawahar Kala Kendra in Jaipur, the planning of Navi Mumbai, MIT'S
Brain and Cognitive Sciences Centre in Boston, and most recently, the Champalimad Centre for
the Unknown in Lisbon, places special emphasis on prevailing resources, energy and climate as
major determinants in the ordering of space.
His first important project was "Mahatma Gandhi Sangrahalaya" (Mahatma Gandhi Memorial)
at Sabarmati Ashram in Ahmedabad (1958-1963), then in 1967 he designed the Madhya Pradesh
Legislative Assembly in Bhopal. He also designed the distinctive buildings of National Crafts
Museum, New Delhi (19751990), Bharat Bhavan, Bhopal (1982),Jawahar Kala
Kendra (Jawahar Arts Centre), in Jaipur, Rajasthan (1986-1992), British Council, Delhi, (1987
92) theMcGovern Institute for Brain Research at MIT, Boston (2000-2005), and
the Champalimaud Centre for The Unknown in Lisbon, Portugal (2007-2010). From 1970-75, he
was Chief Architect for New Bombay (Navi Mumbai), an urban growth center of 2 million
people, across the harbor from the existing city of Mumbai.





















A.P.KANVINDE


1.INTRODUCTION
anvinde was born in 1916 in a small village on the Konkan coast. Raised in a joint
family in the village.
Kanvinde had the calling of a painter and did enroll in an art school but the family
decided that architecture would be a better profession for him.He entered the Architecture
Department at Sir J.J. School of Art in 1935 then headed by Claude Batley, who was also the
premier architect of the country. He passed out in 1941.
1943, he joined the newly formed Council for Scientific and Industrial Research as
architect. Achyut Kanvinde attended Harvard Graduate school of Design in 1945. In 47
appointed as the Chief Architect of CSIR. Formed Kanvinde and Rai in 1955.
2.EARLY LIFE
He was born in Achare, in the Konkan region of Maharashtra, in 1916 in a large family. His
mother died when he was two and his father was an arts teacher in Mumbai. Kanvinde entered
the Sir J.J. School of Art (University of Mumbai) in 1935, to study architecture under Claude
Batley. He later studied design at Harvard in 1945 and was influenced by the works of Walter
Gropius.
K

















LE CORBUSIER

1.INTRODUCTION
harles-douardJeanneret-Gris, better known as Le Corbusier ( October 6, 1887
August 27, 1965), was an architect, designer, painter, urban planner, writer, and one
of the pioneers of what is now called modern architecture. He was born in
Switzerland and became a French citizen in 1930. His career spanned five decades, with his
buildings constructed throughout Europe, India, and America.
2.EARLY LIFE
He was born as Charles-douard Jeanneret-Gris in La Chaux-de-Fonds, a small city in Neuchtel
canton in north-western Switzerland, in the Jura mountains, just 5 kilometres (3.1 mi) across the
border from France. He attended a kindergarten that used Frbelian methods.
Young Jeanneret was attracted to the visual arts and studied at the La-Chaux-de-Fonds Art
School under Charles L'Eplattenier, who had studied in Budapest and Paris. His architecture
teacher in the Art School was the architect Ren Chapallaz, who had a large influence on Le
Corbusier's earliest house designs.
C
In his early years he would frequently escape the somewhat provincial atmosphere of his
hometown by traveling around Europe. In 1906 he made his first trip outside of Switzerland,
going to Italy. In around 1907 he travelled to Paris, where he found work in the office of
AugustePerret, the French pioneer of reinforced concrete. It was both his trip to Italy and his
employment at Perret's office that began to form his own ideas about architecture. In 1908, he
studied architecture in Vienna with Josef Hoffmann. Between October 1910 and March 1911, he
worked near Berlin for the renowned architect Peter Behrens, where he may have met Ludwig
Mies van der Rohe and Walter Gropius. He became fluent in German. More than anything
during this period, it was his visit to the Charterhouse of the Valley of Ema that influenced his
architectural philosophy profoundly for the rest of his life. He believed that all people should
have the opportunity to live as beautifully and peacefully as the monks he witnessed in the
sanctuaries at the charterhouse.
Later in 1911, he journeyed to the Balkans and visited Bulgaria, Greece, and Turkey, filling
nearly 80 sketchbooks with renderings of what he sawincluding many sketches of the
Parthenon, whose forms he would later praise in his work Versune architecture (1923)
("Towards an Architecture", but usually translated into English as "Towards a New
Architecture").
3.MORE ABOUT LE CORBUSIER
During his long life, Le Corbusier designed buildings in Europe, India, and Russia. Le Corbusier
also designed one building in the United States and one in South America.
The earlier buildings by Le Corbusier were smooth, white concrete and glass structures elevated
above the ground. He called these works "pure prisms." In the late 1940s, Le Corbusier turned to
a style known as "New Brutalism," which used rough, heavy forms of stone, concrete, stucco,
and glass.
The same modernist ideas found in Le Corbusier's architecture were also expressed in his
designs for simple, streamlined furniture. Immitations of Le Corbusier's chrome-plated tubular
steel chairs are still made today.
Le Corbusier is perhaps best known for his innovations in urban planning and his solutions for
low income housing. Le Corbusier believed that the stark, unornamented buildings he designed
would contribute to clean, bright, healthy cities. Le Corbusier's urban ideals were realized in
the Unit d'Habitation, or the "Radiant City," in Marseilles, France. The Unite incorporated
shops, meeting rooms, and living quarters for 1,600 people in a 17-story structure. Today,
visitors can stay at the Unite in the historic Hotel Le Corbusier.
4.PHILOSOPHY
In his book Vers une architecture, Le Corbusier described "5 points of architecture" that became
the guiding principles for many of his designs, most especially Villa Savoye.
1. Freestanding support pillars
2. Open floor plan independent from the supports
3. Vertical facade that is free from the supports
4. Long horizontal sliding windows
5. Roof gardens
An innovative urban planner, Corbusier anticipated the role of the automobile and envisioned
cities with big apartment buildings in park-like settings.
5.SELECTED WORKS
1922: Ozenfant House and Studio, Paris
1946-1952: Unit d'Habitation, Marseilles, France
1953-1957: Museum at Ahmedabad, India
1950-1963: High Court Buildings, Chandigarh, India
1950-1955: Notre-Dame-du-Haut, Ronchamp, France
1954-1956: Maisons Jaoul, Neuilly-sur-Seine, Paris
1957-1960: Convent of La Tourette, Lyon France
1958: Philips Pavilion, Brussels
1961-1964: Carpenter Center, Cambridge, MA
1963-1967: Centre Le Corbusier, Zrich, Switzerland



High Court in Chandigarh, India Villa Savoye





































KISHO KUROKAWA



1.INTRODUCTION
orn in Kanie, Aichi, Kurokawa studied architecture at Kyoto University, graduating
with a bachelor's degree in 1957. He then attended University of Tokyo, under the
supervision of Kenzo Tange. Kurokawa received a master's degree in 1959. Kurokawa
then went on to study for a doctorate of philosophy, but subsequently dropped out in 1964.
With colleagues, he cofounded the Metabolist Movement in 1960, whose members were known
as Metabolists. It was a radical Japanese avant-garde movement pursuing the merging and
recycling of architecture styles within an Asian context. The movement was very successful,
peaking when its members received praise for the Takara Cotillion Beautillion at the Osaka
World Expo 1970. The group was dismantled shortly thereafter.
Kurokawa had a daughter, potter Kako Matsuura, and a son, renowned photographer Mikio,
from his first marriage to his college classmate. His second marriage was to Ayako Wakao(
Wakao Ayako), an actress with some notable films in the 1950s and 1960s and who still appears
on stage. Kurokawa's younger brother works in industrial design but has also cooperated with
Kurokawa on somearchitecture projects.
Kurokawa was the founder and president of Kisho Kurokawa Architect & Associates,
established 8 April 1962. The enterprise's head office is in Tokyowith branch offices
in Osaka, Nagoya, Astana, Kuala Lumpur, Beijing and Los Angeles. The company is registered
with the Japanese government as a "First Class Architects Office."


B
2.EARLY LIFE
Kurokawa wrote extensively on philosophy and architecture and lectured widely. He wrote that
there are two traditions inherent in any culture: the visible and the invisible. His work, he
claimed, carried the invisible tradition of Japan. In 1972, he received a grant from the Graham
Foundation to deliver a lecture at the Museum of Science and Industry in Chicago.
Looking at his architectureparticularly at metabolismtradition may not appear to be present,
but, underneath the hard skin of the surface, his work is indeed Japanese. However, it is difficult
to claim that the modern technologies and material he called on was inherited from the Japanese
tradition and that the traditional forms of Japanese architecture can be recognized in his
contemporary concrete or steel towers. Yet, Kurokawas architecture evolved from the Japanese
tradition, and there is a Japanese aesthetic in the context of his work. His architecture focused on
keeping traditional Japanese concepts invisible, especially materiality, impermanence,
receptivity and detail. Kurokawa specifically referred to these four factors in his discussions of
new wave Japanese Architecture.
3.MORE ABOUT KISHO KUROKAWA
Kurokawa explained that the attention paid to detail in Japanese work derived essentially from
the typical attempt to express individuality and expertise. In Japan the execution of details was a
process of working not from the whole to the parts but from the parts to the whole. Every wood
connection in a house was carefully crafted from the inside out. Japan is a country that moved
from a non-industrial country to a fully industrial nation in less than 50 years, during the Meiji
revolution. This sharp jump from producing goods by craftsmen to industrially realized
production was so rapid that the deep-rooted tradition of fine craftsmanship as a statement of the
creator did not disappear. As a result, the Japanese maker continues to be instilled with a
fastidious preoccupation for fine details, which can be seen in contemporary architecture, art and
industry. The attention to detail, an integral part of Japan's tradition, forms a uniquely indigenous
aesthetic.

4.PHILOSOPHY
1) Impermanence :-
Kurokawa noted that, with the exception of Kyoto and Kanazawa, most Japanese cities were
destroyed during World War II. When Western cities are destroyed, brick and stone remained as
proof of their past existence. Sadly, remarks Kurokawa, Japans cities were mostly built of wood
and natural elements, so they burnt to ashes and disappeared completely. He also noted that both
Edo (now Tokyo) and Kyoto were almost entirely destroyed during several battles of the
Warring States period in the 15th and 16th centuries. The shifting of power caused parts of Japan
to be destroyed. On the same note, historically speaking, Japans cities have almost yearly been
hit with natural disasters such as earthquakes, typhoons, floods and volcanic eruptions. This
continuous destruction of buildings and cities has given the Japanese population, in Kurokawa's
words, an uncertainty about existence, a lack of faith in the visible, a suspicion of the eternal.
2) Materiality :-
Kurokawa explains that the Japanese tried to exploit the natural textures and colours of materials
used in a building. The traditional tea room was intentionally built of only natural materials such
as earth and sand, paper, the stems and leaves of plants, and small trees. Trees from a person's
own backyard were preferred for the necessary timbers. All artificial colours were avoided, and
the natural colours and texture of materials were shown to their best advantage. This honesty in
materials stemmed from the idea that nature is already beautiful in itself. The Japanese feel that
food tastes better, wood looks better, materials are better when natural. There is a belief that
maximum enjoyment comes from the natural state.
3) Receptivity :-
The notion of receptivity is a crucial Japanese ideapossibly a tradition." Kurokawa stated that
Japan is a small country. For more than a thousand years, the Japanese had an awareness of
neighboring China and Korea and, in the modern age, Portugal, Great Britain and America, to
name a few. The only way for a small country like Japan to avoid being attacked by these
empires was to make continuous attempts to absorb foreign cultures for study and, while
establishing friendly relations with the larger nations, preserve its own identity. This receptivity
is the aspect that allowed Japan to grow from a farming island into an imperial nation, first using
Chinese political systems and Chinese advancement, then Western techniques and knowledge.
Japan eventually surpassed China and stumbled upon itself during World War II. After the war,
Japan, using this same perspective absorbed American culture and technology.
4) Sustainability :-
In 1958, Kisho Kurokawa predicted a Transition from the Age of the Machine to the Age of
Life, and has continually utilized such key words of life principles as metabolism (metabolize
and recycle), ecology, sustainability, symbiosis, intermediate areas (ambiguity) and Hanasuki
(Splendor of Wabi) in order to call for new styles to be implemented by society. For four
decades, Kisho Kurokawa created eco-friendly and sustainable architectural projects. In 2003 he
was awarded the Dedalo-Minosse International Prize (Grand Prix) for his creation of the Kuala
Lumpur International Airport in Malaysia and KLIA is the first and only airport in the world to
receive the United Nations' Green Globe 21 certification for the airport's commitment to
environmental responsibility each year since 2004. In 2008, the Kisho Kurokawa Green
Institute was founded in his honour.
Impermanence






The National Art Center, Tokyo Saitama Prefectural Museum of Modern Art











NARI GANDHI

1.INTRODUCTION
Born
January 1, 1934
Surat, India
Died
August 18, 1993
Khopoli near Mumbai, India
Nationality Indian
Buildings
Daya residence (Mumbai), Patel
residence (Surat), Gateway to mosque
(Kolgaon), Jain house (Lonavala)
Nari Gandhi (19341993) was an Indian architect known for his highly innovative works in
organic architecture.
2.EARLY LIFE
Nariman (Nari) Dossabhai Gandhi was born in 1934 in Surat to a Zoroastrian Parsi family from
Bombay. He was one of the six children with three brothers and two sisters.
Nari completed his schooling DDFF at St. Xavier's High School, Fort, Mumbai, and studied
architecture at Sir J. J. College of Architecture, Mumbai for five years in early 1950s. He
traveled to USA to apprentice with Frank Lloyd Wright at the Taliesin and spent five years there.


































ANTONIO GAUDI


1.INTRODUCTION
Antoni Gaud i Cornet (25 June 1852 10 June 1926) was an architect from Reus, who was the
figurehead of Catalan Modernism. Gaudis works reflect his highly individual and distinctive
style and are largely concentrated in Barcelona, notably his magnum opus, the Sagrada Famlia.
Much of Gaud's work was marked by his big passions in life: architecture, nature, religion.
Gaud studied every detail of his creations, integrating into his architecture a series of crafts in
which he was skilled: ceramics, stained glass, wrought ironwork forging and carpentry. He
introduced new techniques in the treatment of materials, such as trencads, made of waste
ceramic pieces.
Gaud's work enjoys widespread international appeal and many studies are devoted to
understanding his architecture. Today, his work finds admirers among architects and the general
public alike. His masterpiece, the still-uncompleted Sagrada Famlia, is one of the most visited
monuments in Catalonia. Between 1984 and 2005, seven of his works were declared World
Heritage Sites by UNESCO. Gaud's Roman Catholic faith intensified during his life and
religious images permeate his work. This earned him the nickname "God's Architect" and led to
calls for his beatification

2.STYLE
Gaud and Modernism

The four-armed cross, one of the most typical features of Gaud's works
Gaud's professional life was distinctive in that he never ceased to investigate mechanical
building structures. Early on, Gaud was inspired by oriental arts (India, Persia, and Japan)
through the study of the historicist architectural theoreticians, such as Walter Pater, John Ruskin
and William Morris. The influence of the Oriental movement can be seen in works like the
Capricho, the Gell Palace, the Gell Pavilions and the Casa Vicens.
During his time as a student, Gaud was able to study a collection of photographs of Egyptian,
Indian, Persian, Mayan, Chinese and Japanese art owned by the School of Architecture. The
collection also included Moorish monuments in Spain, which left a deep mark on him and served
as an inspiration in many of his works. He also studied the book Plans, elevations, sections and
details of the Alhambra by Owen Jones, which he borrowed from the School's library. He took
various structural and ornamental solutions from nazar and mudjar art, which he used with
variations and stylistic freedom in his works.
Undoubtedly the style that most influenced him was the Gothic Revival, promoted in the latter
half of the 19th century by the theoretical works of Viollet-le-Duc. The French architect called
for studying the styles of the past and adapting them in a rational manner, taking into account
both structure and design. Nonetheless, for Gaud the Gothic style was "imperfect", because
despite the effectiveness of some of its structural solutions it was an art that had yet to be
"perfected". In his own words: Gothic art is imperfect, only half resolved; it is a style created by
the compasses, a formulaic industrial repetition. Its stability depends on constant propping up by
the buttresses: it is a defective body held up on crutches. The proof that Gothic works are of
deficient plasticity is that they produce their greatest emotional effect when they are mutilated,
covered in ivy and lit by the moon.

The salamander in Park Gell has become a symbol of Gaud's work.
After these initial influences, Gaud moved towards Modernisme, then in its heyday.
Modernisme in its earlier stages was inspired by historic architecture. Its practitioners saw its
return to the past as a response to the industrial forms imposed by the Industrial Revolution's
technological advances. The use of these older styles represented a moral regeneration that
allowed the bourgeoisie to identify with values they regarded as their cultural roots.
Some essential features of Modernisme were: an anticlassical language inherited from
Romanticism with a tendency to lyricism and subjectivity; the determined connection of
architecture with the applied arts and artistic work that produced an overtly ornamental style; the
use of new materials from which emerged a mixed constructional language, rich in contrasts, that
sought a plastic effect for the whole; a strong sense of optimism and faith in progress that
produced an emphatic art that reflected the atmosphere of prosperity of the time, above all of the
esthetic of the bourgeoisie.


3.QUEST FOR A NEW ARCHITECTURAL LANGUAGE
Gaud is usually considered the great master of Catalan Modernism, but his works go beyond any
one style or classification. They are imaginative works that find their main inspiration in nature.
Gaud studied organic and anarchic geometric forms of nature thoroughly, searching for a way to
give expression to these forms in architecture. Some of his greatest inspirations came from visits
to the mountain of Montserrat, the caves of Mallorca, the saltpetre caves in Collbat), the crag of
Fra Guerau in the Prades Mountains behind Reus, the Pareis mountain in the north of Mallorca
and Sant Miquel del Fai in Bigues i Riells.
4.GEOMETRICAL FORMS
The nave in the Sagrada Familia with a hyperboloid vault. Inspiration from nature is taken from
a tree, as the pillar and branches symbolize trees rising up to the roof.
This study of nature translated into his use of ruled geometrical forms such as the hyperbolic
paraboloid, the hyperboloid, the helicoid and the cone, which reflect the forms Gaud found in
nature. Ruled surfaces are forms generated by a straight line known as the generatrix, as it moves
over one or several lines known as directrices. Gaud found abundant examples of them in
nature, for instance in rushes, reeds and bones; he used to say that there is no better structure than
the trunk of a tree or a human skeleton. These forms are at the same time functional and
aesthetic, and Gaud discovered how to adapt the language of nature to the structural forms of
architecture. He used to equate the helicoid form to movement and the hyperboloid to light.
Concerning ruled surfaces, he said "Paraboloids, hyperboloids and helicoids, constantly
varying the incidence of the light, are rich in matrices themselves, which make
ornamentation and even modelling unnecessary."
Gaud evolved from plane to spatial geometry, to ruled geometry. These constructional forms are
highly suited to the use of cheap materials such as brick. Gaud frequently used brick laid with
mortar in successive layers, as in the traditional Catalan vault. This quest for new structural
solutions culminated between 1910 and 1920, when he exploited his research and experience in
his masterpiece, the Sagrada Famlia. Gaud conceived this church as if it were the structure of a
forest, with a set of tree-like columns divided into various branches to support a structure of
intertwined hyperboloid vaults. He inclined the columns so they could better resist the
perpendicular pressures on their section. He also gave them a double turn helicoid shape (right
turn and left turn), as in the branches and trunks of trees. This created a structure that is now
known as fractal

5.SURPASSING THE GOTHIC
This new constructional technique allowed Gaud to achieve his greatest architectural goal; to
perfect and go beyond Gothic style. The hyperboloid vaults have their centre where Gothic
vaults had their keystone, and the hyperboloid allows for a hole in this space to let natural light
in. In the intersection between vaults, where Gothic vaults have ribs, the hyperboloid allows for
holes as well, which Gaud employed to give the impression of a starry sky.
Gaud complemented this organic vision of architecture with a unique spatial vision that allowed
him to conceive his designs in three dimensions, unlike the flat design of traditional architecture.
He used to say that he had acquired this spatial sense as a boy by looking at the drawings his
father made of the boilers and stills he produced. Because of this spatial conception, Gaud
always preferred to work with casts and scale models or even improvise on site as a work
progressed. Reluctant to draw plans, only on rare occasions did he sketch his works, in fact only
when required by authorities.

An upside down force model of the Colnia Gell, Sagrada Famlia Museum
Other factors that led to the initial neglect of the Catalan architect's work was that despite having
numerous assistants and helpers, Gaud created no school of his own and never taught, nor did he
leave written documents.

6.DESIGN AND CRAFTSMANSHIP

Entrance gate of the Gell Pavilions
During his student days, Gaud attended craft workshops, such as those taught by Eudald Punt,
Lloren Matamala and Joan Os, where he learned the basic aspects of techniques relating to
architecture, including sculpture, carpentry, wrought ironwork, stained glass, ceramics, plaster
modelling, etc.He also absorbed new technological developments, integrating into his technique
the use of iron and reinforced concrete in construction. Gaud took a broad view of architecture
as a multifunctional design, in which every single detail in an arrangement has to be
harmoniously made and well-proportioned. This knowledge allowed him to design architectural
projects, including all the elements of his works, from furnishings to illumination to wrought
ironwork.
Gaud was also an innovator in the realm of craftsmanship, conceiving new technical and
decorative solutions with his materials, for example his way of designing ceramic mosaics made
of waste pieces ("trencads") in original and imaginative combinations. For the restoration of
Mallorca Cathedral he invented a new technique to produce stained glass, which consisted of
juxtaposing three glass panes of primary colours, and sometimes a neutral one, varying the
thickness of the glass in order to graduate the light's intensity.

Dedicatory object for Orfe Catal (1922), designed by Gaud, drawn by Francesc Quintana and
coloured by Josep Maria Jujol
7.URBAN SPACES AND LANDSCAPING
Gaud also practiced landscaping, often in urban settings. He aimed to place his works in the
most appropriate natural and architectural surroundings by studying the location of his
constructions thoroughly and trying to naturally integrate them into those surroundings. For this
purpose, he often used the material that was most common in the nearby environment, such as
the slate of Bellesguard and the grey Bierzo granite in the Episcopal Palace, Astorga. Many of
his projects were gardens, such as the Gell Park and the Can Artigas Gardens, or incorporated
gardens, as in the Casa Vicens or the Gell Pavilions. Gaud's harmonious approach to
landscaping is exemplified at the First Mystery of the Glory of the Rosary at Montserrat, where
the architectural framework is nature itselfhere the Montserrat rocknature encircles the
group of sculptures that adorned the path to the Holy Cave.
8.INTERIORS

Interior of the Casa Vicens
Equally, Gaud stood out as interior decorator, decorating most of his buildings personally, from
the furnishings to the smallest details. In each case he knew how to apply stylistic particularities,
personalising the decoration according to the owner's taste, the predominant style of the
arrangement or its place in the surroundingswhether urban or natural, secular or religious.
Many of his works were related to liturgical furnishing. From the design of a desk for his office
at the beginning of his career to the furnishings designed for the Sobrellano Palace of Comillas,
he designed all furnishing of the Vicens, Calvet, Batll and Mil houses, of the Gell Palace and
the Bellesguard Tower, and the liturgical furnishing of the Sagrada Famlia. It is noteworthy that
Gaud studied some ergonomy in order to adapt his furnishings to human anatomy. Many of his
furnishings are exhibited at Gaud Museum.
With regard to light, he stated: Light achieves maximum harmony at an inclination of 45, since
it resides on objects in a way that is neither horizontal nor vertical. This can be considered
medium light, and it offers the most perfect vision of objects and their most exquisite nuances. It
is the Mediterranean light.
Lighting also served Gaud for the organisation of space, which required a careful study of the
gradient of light intensity to adequately adapt to each specific environment. He achieved this
with different elements such as skylights, windows, shutters and blinds; a notable case is the
gradation of colour used in the atrium of the Casa Batll to achieve uniform distribution of light
throughout the interior. He also tended to build south-facing houses to maximise sunlight.
9.EARLY WORKS
Gauds first works both from his student days and the time just after his graduation stand out for
the precision of their details, the use of geometry and the prevalence of mechanical
considerations in the structural calculations.
University years
During his studies, Gaud designed various projects, among which the following stand out: a
cemetery gate (1875), a Spanish pavilion for the Philadelphia World Fair of 1876, a quay-side
building (1876), a courtyard for the Diputaci de Barcelona (1876), a monumental fountain for
the Plaa Catalunya in Barcelona (1877) and a university assembly hall (1877).
Cemetery gate (1875)
Quay-side building (1876)
10.EARLY POST-GRADUATION PROJECTS
After his graduation as an architect in 1878, Gaud's first work was a set of lampposts for the
Plaa Reial, the project for the Girossi newsstands and the Matar cooperative, which was his
first important work. He received the request from the city council of Barcelona in February
1878, when he had graduated but not yet received his degree, which was sent from Madrid on 15
March of the same year.[80] For this commission he designed two types of lampposts: one with
six arms, of which two were installed in the Plaa Reial, and another with three, of which two
were installed in the Pla del Palau, opposite the Civil Government. The lampposts were
inaugurated during the Merc festivities in 1879. Made of cast iron with a marble base, they have
a decoration in which the caduceus of Mercury is prominent, symbol of commerce and emblem
of Barcelona.

Lampposts

Esteban Comella display
In May 1878 Gaud designed a display cabinet for the Esteban Comella glove factory, which was
exhibited in the Spanish pavilion at the Paris World Exhibition that year. It was this work that
attracted the attention of the entrepreneur Eusebi Gell, visiting the French capital; he was so
impressed that he wanted to meet Gaud on his return, beginning a long friendship and
professional collaboration. Gell became Gaud's main patron and sponsor of many of his large
projects.
Orientalist period
During these years Gaud completed a series of works with a distinctly oriental flavor, inspired
by the art of the Middle and Far East (India, Persia, Japan), as well as Islamic-Hispanic art,
mainly Mudejar and Nazari. Gaud used ceramic tile decoration abundantly, as well as Moorish
arches, columns of exposed brick and pinnacles in the shape of pavilions or domes.
Between 1883 and 1888 he constructed the Casa Vicens, commissioned by stockbroker Manuel
Vicens i Montaner. It was constructed with four floors, with facades on three sides and an
extensive garden, including a monumental brick fountain. The house was surrounded by a wall
with iron gates, decorated with palmetto leaves, work of Lloren Matamala. The walls of the
house are of stone alternated with lines of tile, which imitate yellow flowers typical of this area;
the house is topped with chimneys and turrets. In the interior the polychrome wooden roof beams
stand out, adorned with floral themes of papier mach; the walls are decorated with vegetable
motifs, as well as paintings by Josep Torrescasana; finally, the floor consists of Roman-style
mosaics of "opus tesselatum". One of the most original rooms is the smoking room, notable the
ceiling, decorated with Moorish honeycomb-work, reminiscent of the Generalife in the
Alhambra in Granada.

Casa Vicens (188388)

El Capricho (188385
Neo-Gothic period
During this period Gaud was inspired above all by mediaeval Gothic art, but wanted to improve
on its structural solutions. Neo-gothic was one of the most successful historicist styles at that
time, above all as a result of the theoretical studies of Viollet-le-Duc. Gaud studied examples in
Catalonia, the Balearic Islands and Roussillon in depth, as well as Leonese and Castillian
buildings during his stays in Len and Burgos, and became convinced that it was an imperfect
style, leaving major structural issues only partly resolved. In his works he eliminated the need of
buttresses through the use of ruled surfaces, and abolished crenellations and excessive openwork

Episcopal Palace
Gaud received his next commission from a clergyman who had been a boyhood friend in his
native Reus. When he was appointed bishop of Astorga, Joan Baptista Grau i Vallespins asked
Gaud to design a new episcopal palace for the city, as the previous building had caught fire.
Constructed between 1889 and 1915, in a neo-Gothic style with four cylindrical towers, it was
surrounded by a moat. The stone with which it was built (grey granite from the El Bierzo area) is
in harmony with its surroundings, particularly with the cathedral in its immediate vicinity, as
well as with the natural landscape, which in late 19th-century Astorga was more visible than
today. The porch has three large flared arches, built of ashlar and separated by sloping buttresses.
The structure is supported by columns with decorated capitals and by ribbed vaults on pointed
arches, and topped with Mudejar-style merlons. Gaud resigned from the project in 1893, at the
death of Bishop Grau, due to disagreements with the Chapter, and it was finished in 1915 by
Ricardo Garca Guereta. It currently houses a museum about the Way of Saint James, which
passes through Astorga

Casa Botines
Another of Gaud's projects outside of Catalonia was the Casa de los Botines, in Len (1891
1894), commissioned by Simn Fernndez Fernndez and Mariano Andrs Luna, textile
merchants from Leon, who were recommended Gaud by Eusebi Gell, with whom they did
business. Gaud's project was an impressive neo-Gothic style building, which bears his
unmistakable modernista imprint. The building was used to accommodate offices and textile
shops on the lower floors, as well as apartments on the upper floors. It was constructed with
walls of solid limestone. The building is flanked by four cylindrical turrets surmounted by slate
spires, and surrounded by an area with an iron grille. The Gothic facade style, with its cusped
arches, has a clock and a sculpture of Saint George and the Dragon, the work of Lloren
Matamala. As of 2010 it was the headquarters of the Caja Espaa.
Naturalist period
During this period Gaud perfected his personal style, inspired by the organic shapes of nature,
putting into practise a whole series of new structural solutions originating from his deep analysis
of ruled geometry. To this he added a great creative freedom and an imaginative ornamental
style. His works acquired a great structural richness, with shapes and volumes devoid of rational
rigidity or any classic premise.

Rosary of Montserrat

Finca Miralles
World Heritage
Several of Gaud's works have been granted World Heritage status by UNESCO: in 1984 the
Park Gell, the Palau Gell and the Casa Mil; and in 2005 the Nativity facade, the crypt and the
apse of the Sagrada Famlia, the Casa Vicens and the Casa Batll in Barcelona, together with the
crypt of the Colnia Gell in Santa Coloma de Cervell.
The declaration of Gaud's works as World Heritage aims to recognise his outstanding universal
value. According to the citation:
The work of Antoni Gaud represents an exceptional and outstanding creative contribution to the
development of architecture and building technology in the late 19th and early 20th centuries.
Gaud's work exhibits an important interchange of values closely associated with the cultural and
artistic currents of his time, as represented in el Modernisme [sic] of Catalonia. It anticipated and
influenced many of the forms and techniques that were relevant to the development of modern
construction in the 20th century.
Gaud's work represents a series of outstanding examples of the building typology in the
architecture of the early 20th century, residential as well as public, to the development of which
he made a significant and creative contribution.































FRANK GEHRY



1.INTRODUCTION
Frank Owen Gehry, CC (born Frank Owen Goldberg; February 28, 1929) is a Canadian-
American Pritzker Prizewinning architect based in Los Angeles.
A number of his buildings, including his private residence, have become world renowned tourist
attractions. His works are cited as being among the most important works of contemporary
architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as "the
most important architect of our age".
Gehry's best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain;
MIT Ray and Maria Stata Center in Cambridge, Massachusetts; Walt Disney Concert Hall in
downtown Los Angeles; The Vontz Center for Molecular Studies on the University of Cincinnati
campus; Experience Music Project in Seattle; New World Center in Miami Beach; Weisman Art
Museum in Minneapolis; Dancing House in Prague; the Vitra Design Museum and the museum
MARTa Herford in Germany; the Art Gallery of Ontario in Toronto; the Cinmathque franaise
in Paris; and 8 Spruce Street in New York City. But it was his private residence in Santa Monica,
California, that jump-started his career, lifting it from the status of "paper architecture"a
phenomenon that many famous architects have experienced in their formative decades through
experimentation almost exclusively on paper before receiving their first major commission in
later years. Gehry is also the designer of the future National Dwight D. Eisenhower Memorial.

2.ARCHITECTURAL STYLE

Vontz Center for Molecular Studies, University of Cincinnati

The tower at 8 Spruce Street in lower Manhattan which was completed in February 2011 has a
stainless steel and glass exterior and is 76 stories high.
Much of Gehry's work falls within the style of Deconstructivism, which is often referred to as
post-structuralist in nature for its ability to go beyond current modalities of structural definition.
This can be seen in Gehry's house in Santa Monica. In architecture, its application tends to depart
from modernism in its inherent criticism of culturally inherited givens such as societal goals and
functional necessity. Because of this, unlike early modernist structures, Deconstructivist
structures are not required to reflect specific social or universal ideas, such as speed or
universality of form, and they do not reflect a belief that form follows function. Gehry's own
Santa Monica residence is a commonly cited example of deconstructivist architecture, as it was
as drastically divorced from its original context, and in such a manner as to subvert its original
spatial intention.
Gehrys style at times seems unfinished or even crude, but his work is consistent with the
California "funk" art movement in the 1960s and early 1970s, which featured the use of
inexpensive found objects and non-traditional media such as clay to make serious art [citation
needed]. Gehry has been called "the apostle of chain-link fencing and corrugated metal
siding".[39] However, a retrospective exhibit at New York's Whitney Museum in 1988 revealed
that he is also a sophisticated classical artist, who knows European art history and contemporary
sculpture and painting[citation needed].
3.CAREER

Gehry Residence in Santa Monica, California
Gehry established his practice in Los Angeles in 1962, which eventually became the Gehry
partnership in 2001.Gehry's earliest commissions were all in Southern California, where he
designed a number of relatively small-scale yet innovative commercial structures such as Santa
Monica Place (1980) and residential buildings such as the eccentric Norton House (1984) in
Venice, California.
Among these works, however, Gehry's most notable design may be the renovation of his own
Santa Monica residence. Originally built in 1920 and purchased by Gehry in 1977, the Gehry
Residence features a metallic exterior wrapped around the original building that leaves many of
the original details visible. Gehry still resides there today.
Other completed buildings designed by Gehry during the 1980s include the Cabrillo Marine
Aquarium (1981) in San Pedro and the Air and Space exhibit building (1984) at the California
Museum of Science and Industry in Los Angeles.
In 1989, Gehry was awarded the Pritzker Architecture Prize. The jury cited Gehry as "Always
open to experimentation, he has as well a sureness and maturity that resists, in the same way that
Picasso did, being bound either by critical acceptance or his successes. His buildings are
juxtaposed collages of spaces and materials that make users appreciative of both the theatre and
the back-stage, simultaneously revealed.

Chiat/Day Building in Venice, California
In 1997, Gehry vaulted to a new level of international acclaim when the Guggenheim Museum
Bilbao opened in Bilbao, Spain. Hailed by New Yorker Magazine as a "masterpiece of the
twentieth century" and legendary architect Philip Johnson as "the greatest building of our time",
the museum became famous for its striking yet aesthetically pleasing design and the economic
effect that it had on the city.

New World Center in Miami Beach, Florida
Since then, Gehry has regularly won major commissions and has further established himself as
one of the world's most notable architects. His best received works include several concert halls
for classical music, such as the boisterous and curvaceous Walt Disney Concert Hall (2003) in
Downtown Los Angeles, which has been the centerpiece of the neighborhood's revitalization and
has been labeled by the LA Times as "the most effective answer to doubters, naysayers, and
grumbling critics an American architect has ever produced, the open-air Jay Pritzker Pavilion
(2004) adjacent to Millennium Park in Chicago, and the understated New World Center (2011)
in Miami Beach, which the LA Times called "a piece of architecture that dares you to
underestimate it or write it off at first glance."
Other notable works include academic buildings such as the Stata Center (2004) at MIT and the
Peter B. Lewis Library (2008) at Princeton University, museums such as the EMP Museum
(2000) in Seattle, Washington, commercial buildings such as the IAC Building (2007) in New
York City, and residential buildings such as Gehry's first skyscraper New York by Gehry at
Eight Spruce Street (2011) in New York City.
However, in recent years, some of Gehry's more prominent designs have failed to go forward.
Gehry was notoriously dropped by developer Bruce Ratner from the Atlantic Yards Project in
Brooklyn, New York due to high costs in 2009 and, though he has recently been put back on the
project, Gehry's designs for the Grand Avenue Project adjacent to Disney Hall in Los Angeles
have been delayed for years. Gehry's controversial design of the National Dwight D. Eisenhower
Memorial in Washington, D.C. has been subject to numerous delays during the approval process
with the United States Congress.
In October 2013, Gehry was appointed joint architect with Foster + Partners to design the "High
Street" phase of the development of Battersea Power Station in London, England. This will be
Gehry's first building in London.
4.FURNITURE AND CLOTHING DESIGN
In addition to architecture, Gehry has made a line of furniture, jewelry for Tiffany & Co., various
household items, sculptures, and even a glass bottle for Wyborowa Vodka. His first line of
furniture, produced from 1969 to 1973, was called "Easy Edges", constructed out of cardboard.
Another line of furniture released in the spring of 1992 is "Bentwood Furniture". Each piece is
named after a different hockey term. He was first introduced to making furniture in 1954 while
serving in the U.S. Army, where he designed furniture for the enlisted soldiers. Gehry claims that
making furniture is his "quick fix".
In 2009, Gehry designed a hat worn publicly by pop star Lady Gaga, reportedly by using his
iPhone.
Awards and honors
1989: Pritzker Architecture Prize
1992: Praemium Imperiale
1994: The Dorothy and Lillian Gish Prize
1995: Academy of Achievement's Golden Plate Award
1998: National Medal of Arts
1999: AIA Gold Medal
2000: CooperHewitt National Design Award Lifetime Achievement
2003: Order of Canada
2004: Woodrow Wilson Award for Public Service
2006: Inductee, California Hall of Fame
2007: Henry C. Turner Prize for Innovation in Construction Technology from the
National Building Museum (on behalf of Gehry Partners and Gehry Technologies)
2008: Order of Charlemagne (declined honor)[citation needed]
2012: Twenty-five Year Award
Gehry was elected to the College of Fellows of the American Institute of Architects (AIA) in
1974, and he has received many national, regional and local AIA awards. He is a Senior Fellow
of the Design Futures Council and serves on the steering committee of the Aga Khan Award for
Architecture.












ROBERT VENTURI

1.INTRODUCTION
Robert Charles Venturi, Jr. (born June 25, 1925) is an American architect, founding principal of
the firm Venturi, Scott Brown and Associates, and one of the major architectural figures in the
twentieth century. Their buildings, planning, theoretical writings and teaching have contributed
to the expansion of discourse about architecture. Venturi was awarded the Pritzker Prize in
Architecture in 1991; the prize was awarded to him alone despite a request to include his equal
partner Denise Scott Brown. A group of women architects attempted to get her name added
retroactively to the prize, but the Pritzker Prize jury declined to do so. Robert is also known for
coining the maxim "Less is a bore" a postmodern antidote to Mies van der Rohe's famous
modernist dictum "Less is more". Venturi lives in Philadelphia with Denise Scott Brown.
Architecture

The Guild House, completed 1964, on Spring Garden Street, Philadelphia
The architecture of Robert Venturi, although perhaps not as familiar today as his books, helped
redirect American architecture away from a widely practiced, often banal, modernism in the
1960s to a more exploratory design approach that openly drew lessons from architectural history
and responded to the everyday context of the American city. Venturi's buildings typically
juxtapose architectural systems, elements and aims, to acknowledge the conflicts often inherent
in a project or site. This "inclusive" approach contrasted with the typical modernist effort to
resolve and unify all factors in a complete and rigidly structuredand possibly less functional
and more simplisticwork of art.

Chapel at the Episcopal Academy, Newtown Square, PA. (2010)
Venturi's architecture has had world-wide influence, beginning in the late 1960s with the
dissemination of the broken-gable roof of the Vanna Venturi House and the segmentally arched
window and interrupted string courses of Guild House. The playful variations on vernacular
house types seen in the Trubeck and Wislocki Houses offered a new way to embrace, but
transform, familiar forms. The facade patterning of the Oberlin Art Museum and the laboratory
buildings demonstrated a treatment of the vertical surfaces of buildings that is both decorative
and abstract, drawing from vernacular and historic architecture while still being modern.
Venturi's work arguably provided a key influence at important times in the careers of architects
Robert A. M. Stern, Philip Johnson, Michael Graves, Graham Gund and James Stirling, among
others.
Venturi is a Fellow of the American Academy in Rome, the American Institute of Architects,
The American Academy of Arts and Letters and an Honorary Fellow of the Royal Institute
2.AWARDS
External video
Benjamin Franklin House Outline.jpg
Robert Venturi: Architecture's Improper Hero Part 1, 14:45,
Part 2, 7:19, John Thornton
Architecture as flexibility; form follows functions, Robert Venturi and Denise Scott
Brown, 7:34, 1st of 10 parts on the architects discussing their careers, Web of Stories.
Rome Prize Fellow, American Academy in Rome; 1956
AIA Medal for Complexity and Contradiction in Architecture; 1978
Fellow in the American Institute of Architects, 1978
AIA Architecture Firm Award, to Venturi, Rauch and Scott Brown; 1985
Commendatore of the Order of Merit, Republic of Italy; 1986
A Twenty-five Year Award to the Vanna Venturi House; 1989
Elected to the American Academy of Arts and Letters; 1990
The Pritzker Architecture Prize; 1991
National Medal of Arts, United States Presidential Award; 1992 (with Denise Scott
Brown)
Commandeur de L'Ordre des Arts et Lettres, Republique Franaise, Ministre de la
Culture et de la Communication; 2000
Vincent Scully Prize, National Building Museum; 2002 (with Denise Scott Brown)[16]
Design Mind Award, Cooper-Hewitt National Design Awards; 2007 (with Denise Scott
Brown






























GEOFERRY BAWA
1.INTRODUCTIOON
The Sri Lankan Architect Geoffrey Bawa is now regarded as having been one of the most
important and influential Asian architects of the twentieth century. His international standing
was confirmed in 2001 when he received the special chairmans award in the eighth cycle of the
Aga Khan Award for Architecture, becoming only the third architect and the first non-Moslem to
be so honoured since the awards inception.

Bawa was born in 1919 and came late to architecture, only qualifying in 1957 at the age of
thirty-eight, but he soon established himself as Sri Lankas most prolific and inventive architect,
laying down a canon of prototypes for buildings in a tropical Asian context. Although best
known for his private houses and hotels, his portfolio also included schools and universities,
factories and offices, public buildings and social buildings as well as the new Sri Lanka
Parliament. His architectural career spanned forty years and was ended in 1998 by illness. He
died in 2003.

Bawas work is characterised by sensitivity to site and context. He produced sustainable
architecture long before the term was coined, and had developed his own regional modernist
stance well in advance of the theoreticians. His designs broke down the barriers between inside
and outside, between interior design and landscape architecture and reduced buildings to a series
of scenographically conceived spaces separated by courtyards and gardens.
One of his most striking achievements is his own garden at Lunuganga, which he fashioned
from an abandoned rubber estate. This project occupied him for fifty years, and he used it as a
test bed for his emerging ideas. The result is a series of outdoor rooms conceived with an
exquisite sense of theatre as a civilised wilderness on a quiet backwater in the greater garden of
Sri Lanka.
EARLY WORK I N TROPI CAL MODERNI SM


Strathspey Estate Bungalow, Upcott, 1959




Bishops College Classrooms, Colombo, 1951

Bawas early work included office buildings, factories and schools and was influenced by the
Tropical Modernism of Fry and Drew and ultimately by the work of le Corbusier. Typical of
projects from this period are the remote Strathspey Tea Estate Bungalow at the foot of Adams
Peak, and the classroom extension for Bishops College in Colombo.
THE ENA DE SI LVA HOUSE, 1960


Bawa was invited by Mrs.Ena de Silva to build a house on a fairly small plot in the Colombo
suburb of Cinnamon Gardens. She demanded a house which would be modern and open, but
which would embody features of the traditional manor houses in which she had lived as a child.
Bawas solution employed the same elements as the Galle house, but he now carved them out of
a solid form. The result is a totally introspective house which emphasises the voids as much as
the solids and which allows a free flow of space from inside to outside.

THE YAHAPATH ENDERA FARM SCHOOL, HANWELLA, 1965





The Yahapath Endera Farm School was built for orphan girls on a rubber and coconut estate
about 30 kilometers to the east of Colombo. Bawa placed the various buildings on a formal
orthogonal grid but they were allowed to run with the contours in section. Individual buildings
were positioned carefully to define open spaces and axes and to regulate the vistas between them.
THE BATUJ I MBAR ESTATE, SANUR, BALI , 1973


In 1973 the Australian painter Donald Friend invited Bawa to design an estate of private villas at
Batujimbar on the southern tip of the island of Bali. The project offered opportunities for regular
site visits and Bawa spent some time with Friend developing a master plan and studying local
architectural and craft traditions.
AWARDS




The Geoffrey Bawa Trust has set up a national award scheme to recognise and reward significant
examples of contemporary Sri Lankan architecture. The aim of the scheme is both to foster the
production of good architecture and to encourage its wider appreciation in the community.
The award scheme has been consciously modelled on the scheme that is run by the Aga Khan
Trust for Culture in Geneva. That scheme is generally acknowledged to have had a very marked
effect on architecture in developing countries since it was inaugurated by HRH the Aga Khan in
1977 and has now completed ten of its three-year cycles. The Trust also acknowledges the
importance of the honour, which was bestowed upon Deshamaniya Bawa when he received HRH
the Aga Kans Special Award for a Lifetimes Achievement in Architecture in 2001.


PRACTICE


Between 1957 and 1989 Geoffrey Bawa was a partner in the firm of Edwards Reid and Begg.
His fellow partners from 1957 to 1967 were Jimmy Nilgiria and Valentine Gunesekera. The
Danish architect Ulrik Plesner joined the practice in 1959 and worked as a close collaborator
with Bawa until the end of 1966.
After 1967 Bawas sole partner was Dr. K. Poologasundram who acted as engineer and office
manager until the partnership was dissolved in 1989.


In 1990 Bawa founded a new and much smaller practice under the name Geoffrey Bawa
Associates. Channa Daswatte acted as his principal associate from 1993 until 1998.
After Bawa suffered a stroke in March 1998 his affairs were administered by the Lunuganga
Trust, the trustees being Sunethra Bandaranaike (Chair), Ward Beling, Channa Daswatte,
Michael Mack succeeded in 2004 by Eugenie Mack and Suhaniya Raffel. Channa Daswatte
continued to run Geoffrey Bawa Associates until it was formerly closed at the end of 2002.