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ACKNOWLEDGEMENT
I would like to thank my guide Prof. Sambuddha Sen for his excellent motivation, advice, constant guidance and suggestions in completion of this paper. I express my deep sense of gratitude towards our head of the department, co-coordinators Dr. Ranjana Mittal and Prof. Jaya Kumar and my external guide Prof. Deependra Prashad for their kind assistance and supports. My special thanks to Mr. Gobinda Bar and my father Dr. Arun K. Saha for their kind help in editing and formatting the paper. And, lastly I am very thankful to those who directly and indirectly helped me in completion of this dissertation.
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Content: 1. Introduction
4
2.
Hypothesis
6
3.
Synopsis
6
4.
3.1
Need Identification
3.2
Aims and Objectives
3.3
Scope
3.4
Limitations
3.5
Research Methodology
Theoretical Framework 4.1
Background of Geometry
4.2
Proportion Systems and Classical Approach
4.3
History: Geometry and Monofunctional Building
4.4
Modern Architecture Movement
4.5
Recent Effort: Beyond Euclidean Geometry: Free Spirited Architecture
9
5 Paradigm Shift: Theory of paradigm shift according to Kuhn and others
15
Paradigm shift in science, technology and arts Paradigm theory to architectural philosophy Availability of material and technology as a cause of paradigm shift 6 Brief Biographical Sketches of two Architects 6.1
18
Influence of ancient and classical architecture discussing on Louis I Kahn through travels in Europe, study of history and Beaux art training Early works
2
Existing paradigm 6.2
Frank Gehry’s source of inspiration for creating exuberant and free forms Early works Existing paradigm
7
Case Studies: Testing of Hypothesis 7.1
Assembly building of Dhaka in Bangladesh
26 26
7.2
The Indian institutes of management, Ahmedabad
30
7.3
Goggenheim Museum, Bilbao, Spain
36
7.4
The Walt Desney Opera halls in Los Angeles
41
8
Analysis And Comparison between Two Paradigms
46
9
Conclusion
49
10 References
52
3
RESEARCH QUESTION How paradigm shift has taken place from Euclidean ethos to the design process of ‘free form architecture’?
4
1.
Introduction The discipline of architecture undergoes different stylistic shifts in different eras. Paradigm
shifts take place at critical moments in history. Possibilities of the age also take part in defining the trend. Architects design buildings considering various aspects, mostly related to human comfort, psychology, functionality and social characteristics. Each architect has his/her own style and methodology to address the design. One method is ‘INSIDE OUT’. This can called as ‘function based architecture’ or ‘form follows functions’. In this case, form evolves from the functions and two dimensional drawings (plan, sections). Conversely, another process is ‘OUTSIDE IN’, which can be described as ‘form based or concept based architecture’ or ‘function follows form’. In this process, form would be decided first and the functional requirements would be fitted into it. Architects start the design by experimenting with three dimensional blocks, conceptual sketches or three dimensional modeling with the help of software. In this process Euclidean geometrical principles do not get precedence over speculative development of form in an intuitive way. The resulting architecture may be called Free Form. The first process described above has been practiced since ages following geometric principles. Geometry has been used spontaneously from the beginning of human settlements. Human used to make their shelter according to the convenience of construction by solving functional needs. For that reason, they always trusted the straightforwardness and adopted mostly the regular geometrical forms. In formal architectural practice, using geometry, the architect makes division of spaces and introduction of symmetry, hierarchy, orders and rhythm. These allow buildings to be good in construction and architectural characteristics. Roman Architect and Engineer Marcus Vitruvius Pollio
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thought of proportion in terms of unit fractions, and golden ratios. Those were found in Greek and Roman classical architecture. In early 20th century, Mies Van Der Rohe, Walter Gropius and Le Corbusier had reacted against classical principles and started the modern movement in architecture. Louis I. Kahn was a modern architect influenced by classical principles and Beaux art tradition which refers to classical source of fine arts. His work has greatly been influenced by basic geometry and classical principles of order. On the contrary, Postmodernist architecture is generally thought to be heralded by the return of ‘wit, ornament and reference’ to architecture in response to the formalism of the international style of modernism. Free form architecture is a movement after postmodern architecture, which began in the late 1980s. It is characterized by ideas of fine art, sculptural attributes and non formal design methodology. Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelblau, and Bernard Tschumi have contributed significantly in advancing apparent nonEuclidean geometry. Likewise, Frank Owen Gehry defines buildings as an art piece. Some of the forms of his buildings are biomorphic forms like fish-very organic free form. Functions are fitted into the form. Architects’ approach to the design process is changing with times. A group of architects are designing based on classical principles with their innovative input added into it. On the other hand, buildings are treated by some architects as sculpture or an art piece consciously rejecting geometrical aspects. The style as well as the appearance of buildings changes with time.
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2.
Hypothesis: Paradigm shift takes place when one ‘conceptual world view is replaced by another and there is a historical need to do so. In architecture, it is largely driven by technology/ material and rejecting existing ethos. Free form, non Euclidean architecture can be constructed with the help of digital mathematics and the latest software, but the simplicity and convenience remain with the buildings evolved through basic logic of Euclidean geometry.
3. Synopsis: 3.1 Need Identification Every architect follows his/ her own philosophy in formulation of design. But a connection or similarities would be found among the works of the architects following the same paradigm. They follow either same style or may have influence of recent past on their work. For example, during classical period most of the architecture had the influence of geometry and mathematics since the idea of architecture based on geometry. Similarly, in modern architecture movement, a common style was followed consciously rejecting classical principles; at that time Louis I Kahn came up with designs which had strong influence of classicism and Beaux art in modern buildings. His students had taken this idea forward and initiated post modern movement in architecture. Later, from 1980s free spirited architecture had taken off with no historical references and treating building as a sculpture, in an altogether new way. It is very apparent from the record that, there is very strong influence of one architectural movement on another. Architects may follow the existing ethos, style from the recent past or even the ancient historical style. Similarly, they can come up with designs mixing up two different styles
7
or may initiate a total new paradigm. For that, analytical study of the styles in terms of design process, functionality, background studies of the respective architects, similarities and relations between two paradigms should be considered compulsory. So, comparison of paradigms and analytical study arise the need of this dissertation. 3.2 Aims and Objectives To understand the phenomenon of paradigm shift from the existing and established system to a new unconventional system Analyze the above statement through the works of two architects of modern age who display conscious paradigm shift from existing systems. Finally to investigate both the systems that can help and produce significant built forms which are critically acclaimed and compare them through same parameters. 3.3 Scope Discussing basic idea of principles of classical order, Euclidean geometry and system of proportions Gradual change of process of using geometry from the ancient period to modern times Role of available material and technology in transforming architectural styles Though the work of two architects cannot be compared apple to apple, two paradigms would be investigated followed by two respective architects through given parameters. The National Parliament building, Dhaka, Bangladesh and The Indian institutes of management, Ahmedabad, India by Louis I Kahn are able to represent architect’s working style in great detail. So, these buildings would be taken as case study.
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Similarly Frank O. Gehry’s work has impressed on appropriate counterpoint to Louis I Kahn’s work in terms of delinking Euclidean geometry, the well documented Guggenhein museum, Bilbao, Spain and The Walt Disney Opera House, Los Angeles would be takes as case study. 3.4 Biographical sketches of two Architects in brief Louis I Kahn’s predilection for classical architecture, history, influence of Beaux Art and his travels to Europe. Frank Gehry’s source of inspiration of creating free forms. 3.5 Limitations Only the classical Euclidean aspects would be discussed with respect to geometry, proportion and other principles of classical architecture, but not into historical development of classical architecture Only the Lives and works of Louis I Kahn and Frank O. Gehrywould be discussed in terms of their attitude in creation of built form Would not be an extensive survey of Louis I Kahn and Frank O. Gehry’s work, but would only illustrate points being raised in the research 3.6 Research Methodology Research precedents would first discuss the geometry, also the usage of geometry spontaneously since ages on construction. How the proportional systems are evolved from geometry along with use of golden ratios in the ancient architecture. How the idea has been taken forward.
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How the practice of using geometry had encouraged the modern architecture without using historical methodology and then how Louis I Kahn did play the role to club historical influence in modern architecture as well as Beaux art. How the free spirited architecture had taken place without any historical reference. Then case studies of two buildings each designed by two respective architects from two paradigms would be analyzed critically and compared on the basis of certain parameters. 4. Theoretical Framework 4.1 Background of Geometry: Geometry (Ancient Greek: γεωμετρία; geo- "earth", -metri "measurement") "Earth-measuring" is a part of mathematics concerned with questions of size, shape, relative position of figures, and the properties of space. Initially it was a body of practical knowledge concerning lengths, areas, and volumes. In the 3rd century BC, geometry was put into an axiomatic form by Euclid, whose theory was Euclidean geometry. Euclidean geometry is a mathematical system attributed to the Alexandrian Greek mathematician Euclid, whose elements are the earliest known systematic discussion of geometry. (Eves, vol. 1., p. 19) Cartesian geometry, also known as coordinate geometry, analytical geometry, or analytic geometry, is the study of geometry using a coordinate system and the principles of algebra and analysis. This contrasts with the synthetic approach of Euclidean geometry, which treats certain geometric notions as primitive, and uses deductive reasoning based on axioms and theorems. Shapes composed of complex, arbitrary lines are exceedingly difficult to depict. Less complex lines and shapes can be described much more easily, and even drawn on the ground with great
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precision, through the help of geometric instruments and without the need of mathematical equations. The straight line, the circle and the equilateral triangle are among the most obvious. The centre of a circle and the length of its radius are all it takes to describe a specific circle. Shapes that possess the element of uniqueness and precision can also be described through mathematical formulas, but those who must carry out a construction project have always trusted the straight forwardness and precision of geometric instruments, rather than the abstractions of numbers and equations. According to Antony C. Antoniades, (Antoniades, 1999, pg, 183) Humans have thus been attracted to geometry as opposed to mathematics: Geometry affords us the power to realize geometrically conceived forms with ease. It gives us the ability to describe form with precision. It can make every person enjoy a sense of divinity by the mere existence of the uniqueness and perfection of the geometric shapes. It has solved the problems inherent in the geometry of shapes, thus giving us sets of ready-made forms that can be manipulated in a variety of ways. The whole history of architecture can be viewed in the light of the two possible realizations for lines and shapes. Those who followed the mathematical way look for the abstraction of numbers, the formulas that describe them, and the elegance of the relationships of the numbers. This was the attitude of the architects in the Renaissance. The other attitude bases its architectural decisions on the shapes and solids (geometric shapes in three dimensions); it looks for the divinity of precision afforded by the rules of the selected geometric figure and its inherent spatial properties.
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4.2 Proportion Systems and Classical Approach ‘Proportion is a correspondence among the measures of the members of an entire work, and of the whole to a certain part selected as standard. From this result the principles of symmetry. Without symmetry and proportion there can be no principles in the design of any temple; that is, if there is no precise relation between its members as in the case of those of a well shaped man.’ (Vitruvius, 1914, pg-72) Among the Cistercians, Gothic, Renaissance, Egyptian, Semitic, Babylonian, Arab,
Greek
and
Roman
traditions;
the
harmonic
proportions,
human
proportions,
cosmological/astronomical proportions and orientations, and various aspects of sacred geometry, pentagram, golden ratio and small whole-number ratios were all applied as part of the practice of architectural design. In mathematics and the arts, two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. The golden ratio is an irrational mathematical constant, approximately 1.6180339887. For example, Vitruvius found that the human hand from the wrist to the middle finger tip equals one tenth of the total body height. The foot equals one sixth of the total body height, and so on. Later scientists and philosophers discovered that the same ratio Vitruvius saw in the human body is 1 to PHI (1.618). Figure 1: Vitruvian man First, geometry was found in music. Harmonics is (http://www.google.co.in/imgres?imgurl =http://www.squarecirclez.com/blog/wp -content/uploads/2008/01/vitruvianan obscure and difficult branch of musical science. “The man.jpg)
voice in its change of position when shifting becomes pitch sometimes high, sometimes low, and its movements are of two kinds, in one of which its
12
progress is continuous, in the other by intervals. (Vitruvius, 1914, pg.140). When continuity and interval or low voice and high voice are in certain proportion, it becomes a soul-satisfactory music. Some studies of the Acropolis, including the Parthenon, conclude that many of its proportions approximate the golden ratio. To the extent that classical buildings or their elements are proportioned according to the golden ratio, this might indicate that architects of classical buildings were aware of the golden ratio and consciously used it in their designs. Alternatively, it is possible that the architects used their own sense of good proportion, and that this led to some proportions that closely approximate the golden ratio.
Figure 2: Floor plan of the Parthenon
Figure 3: Parthenon, Acropolis, Athens
(http://britton.disted.camosun.bc.ca/goldslide/jbgoldslide.htm)
Vignola observed that some buildings are more beautiful than others, and that those buildings have a mathematical correspondence between their parts. The conclusion is very simple to Vignola: the beauty is a question of proportion, and the unpleasant constructions are out of proportion. (Vignola 1593, pg.II v.) 4.3 History: Geometry and The Monofunctional Building The monofunctional building has been with us through history. The megaron, the pyramid, the temple, the stadium, the basilica, the airplane pavilion, the green house and the suspension bridge
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are vivid examples of monofunctional types. Such building types often occupied the attention of scholars and aesthetes; geometer architects, and occasionally engineers, excelled in their use. The megaron employed the simplest of lines, the straight line and the most undeniable natural law, the law of gravity. Through its post and beam construction, it became the historical precedent of most of the world’s utilitarian architecture. The high-rise buildings are a direct descendant of the ancient megaron; both get their power through the divinity of the straight line. The triangle obviously encountered in the pyramid, while the circle, the square, the rectangles, the cylindrical drum, the sphere are encountered in Chistian churches- the Byzantine, the Gothic, the Romanesque and the Muslim architecture. In all these instances, the ‘big idea’ of the geometric form originated for symbolic reasons (sky, universe, cross). Structure and symbolism were afforded a complementary fit because of the particular geometric shapes selected. If a rule was found, a module or a proportional agreement between the parts and the whole, the composition was considered to be a symphonic composition, one in which everything is in agreement with everything else, where the parts follow the same rules as a whole or vice versa. Such buildings were viewed in musically metaphoric terms; their facades were scrutinized, the observed proportional relationships between the solids and voids, between the modules or between the sizes of the structural elements and the scoring of the surfaces and the materials were viewed in the light of musical beats, tones, spacing, and rhythm. (Antoniades, 1999, pg, 188) The whole debate on the aesthetics of classical architecture and the architecture of the renaissance has been a debate over the monofunctional building and concept of the symphonic. The debate has been over the subtitles of the relationships of the parts to the whole, and the perfection of the symphonic achievement.
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4.4 Modern Architecture Movement In early 20th century, Mies Van Der Rohe, Walter Gropius and Le Corbusier had taken this forward and started the modern movement in architecture. Main scheme of modern architecture was ‘Form Follows Function’, primarily the simplification of form and the elimination of ornamentation. Functionalism became the main concept of architecture which refers to design a building based on the purpose of that building. ‘The essential and most fundamental ordering principles of geometric form eliminate redundancy and at the same time offer infinite tangible variations for natural evolution and human creativity.’ (Gast, 1998, pg. 7) Modern architecture, in its preoccupation with making more economical buildings through the use of machine techniques, deprived the monofunctional building of the subtleties of the detailing of its façades; it focused instead on the overall geometric configuration. This has certain consequences; the creation of buildings devoid of human scale. The result was frequently monotony; either through excessive repetition of the same beat of the structural module, or through the existence of only one beat. It is quite inappropriate to enlarge a geometrical form without solving the issue of scale- that is providing elements that are familiar to the human being so that he is able to establish the right feeling with regard to the size of the building compare to his own dimension. In the absence of such conditions, the use of geometry in the monofunctional building of modern architecture was simplistic. The large scale monofunctional building, either as high rise office building or a low rise horizontal complex, was certainly diagrammatic, loaded with negative connotations of monotony,
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boredom and boxiness. The experimentation of elevations and the constant debate over the symphonic issues have always been the focus of the literature of monofunctional building. 4.5 Recent Effort: Beyond Euclidean Geometry: Free Form Architecture On the contrary, free form architecture is a movement in architecture started from 1980’s, which characterized by ideas of fragmentation and non-linear processes of design. Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelblau, and Bernard Tschumi
Tschumi
have
contributed
significantly in advancing apparent nonEuclidean
geometry.
Likewise,
Frank
Owen Gehry defines buildings as an art piece and works with free flange, flamboyant and curvilinear structures.
Figure 4: Guggenheim Museum, Bilbao, Spain (www.archnet .com)
Paradigm shift 5. Paradigm Shifts: Theory of paradigm shift according to Kuhn and others In 1962, Thomas Kuhn wrote The Structure of Scientific Revolution, and further defined and popularized the concept of "Paradigm Shift" (Kuhn, 1970, p.10). Kuhn argues that scientific advancement is not evolutionary, but rather is a "series of peaceful interludes punctuated by intellectually violent revolutions", and in those revolutions "one conceptual world view is replaced by another". The paradigm, in Kuhn's view, is not simply the current theory, but the entire worldview in which it exists, and all of the implications which come with it. It is based on features of landscape of knowledge that scientists can identify around them.
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Paradigm shift in science, technology and arts Think of a Paradigm Shift as a change from one way of thinking to another. It's a revolution, a transformation, a sort of metamorphosis. It just does not happen, but rather it is driven by agents of change. For example, agriculture changed early primitive society. The primitive Indians existed for centuries roaming the earth constantly hunting and gathering for seasonal foods and water. However, by 2000 B.C., Middle America was a landscape of very small villages, each surrounded by patchy fields of corn and other vegetables. Agents of change helped create a paradigm-shift moving scientific theory from the Ptolemaic system (the earth at the center of the universe) to the Copernican system (the sun at the center of the universe), and moving from Newtonian physics to Relativity and Quantum Physics. Both movements eventually changed the world view. These transformations were gradual as old beliefs were replaced by the new paradigms creating "a new gestalt" Similarly, cubism was a real turning point or paradigm shift in art. Cubism did something completely different than any other art up until that time and that was portrayed a subject matter in multiple perspectives which opened the door to non-representational art. Paradigm shift in Architectural Philosophy In the case of Architecture, different styles have been adopted in different periods of time, based on thinking process and revolution. Classical architecture, modern architecture movement, modern architecture with historical references, post-modern movement and free form architecture; all of these period may be called as paradigm shifts in architecture.
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As Kuhn said, paradigm shifts take place with the help of one or more than one agents. In architecture, architects play the role of agents and lead to paradigm shifts. In the period of modern movement Walter Gropius, Ludwig Mies van der Rohe, Le Corbusier, Frank Lloyd Wright etc carried architecture mostly following fundamental geometric forms; rejecting their recent past: classicism. They worked for simplification and elimination of ornamentation. Louis I Kahn felt the significance of historical learning as the nation’s identity. So, he included beaux art influence, classicism and sometimes Islamic architectural influence in his practice. His conscious effort directed architecture to another paradigm shift. Around 1980s, architect Frank O. Gehry came up with designs which were completely different from which had been practiced before. Free Form architecture started a new paradigm in architecture, which again had no reference to history, but influenced by nature. Architects started treating building as sculpture at this period of time. Possibilities of the age limits the design Of course, innovation of the architects should be credited for paradigm shifts, but the material and technology limits the possibilities in architecture. Whatever the design is, if the technology and material available in the market cannot support the structure; it is unachievable.
Till post
modernism era the technology and material could support the pure geometric forms, so most of the buildings before that period are generally followed by basic geometric forms. But for Frank Gehry, new material (titanium), digital geometry and technology like, advanced software ‘Catia’ were available for aircraft. He could explore the material and techniques by making extremely flamboyant forms. Architects practicing before did not have this option to explore. If the evolution of structure can be traced all over the history, strong influence of the materials and technology available would be obvious.
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6. Biographical sketches of two Architects in brief 6.1 Creative Inspiration of Louis I Kahn: In early 20th century, Mies Van Der Rohe, Walter Gropius and Le Corbusier had reacted against classical architecture and started the modern movement in Architecture. At that point of time the stream was taken forward with designs influenced by basic geometry but ideas strongly against classical principles. Louis I Kahn disagreed and strongly felt that we should respect and learn from history. Take the history forward as our identity. He felt, architect should incorporate historical principles in his design in his own innovative style. Kahn was trained in the Beaux-Arts tradition at the University of Pennsylvania under Paul P. Cret. He returned to a remote historical imagery through his preoccupation with the creation of hierarchic order out of heavy structural form. He defined space by means of masonry masses and a lucid structure laid out in geometric, formal schemes and axial layouts with a strong processional character of space and images, an approach that derives from the Beaux-Arts tradition. His work represents a turning point in 20th century architecture. Functionalist- modernism and historical classical principles for finding architectural form meet in his design. Kahn's architecture also projects a strong emotional quality, nostalgia for the lost ancient world which is infused into his severe masonry. (http://www.rochesterunitarian.org/Kahn)
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Early work: A single family house Jesse Oser House, 628 Stetson Road, Elkins Park, Pennsylvania, 1940
Figure 5: Front view of Jesse Oser House
Figure 6: Rear view of Jesse Oser House
(http://www.wikiarquitectura.com/index.php/Archivo:Oser_2.jpg)
Concept:
Formally, the rectangular solid Oser house is clad in stone and any addition or subtraction to the massif is divided into horizontal paneling. With this simple gesture is achieved by changes in the solid surfaces of the building is visually associated with the different materials.
Figure 7: Ground floor plan and First floor plan (http://eng.archinform.net/projekte/2043.htm)
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Clear division of functions:
The ground floor is clearly organized into two parts: on one side of
the room trough and the living room and the other services sector, with the kitchen and work areas. The emphasis on outdoor life is expressed by the kitchen door, directly open to the dining terrace and the large outdoor fireplace, on the same terrace. On this floor there is also a toilet. Existing Paradigm: Existing paradigm for Louis I. Kahn was the architecture of modern style without any historical references. Modern architecture is a term given to a number of building styles with similar characteristics; primarily the simplification of form and the elimination of ornament that first arose around 1900. By the 1940s these styles had been consolidated and identified as the International Style and became the dominant architectural style. The instrumentalisation of Architecture as argued under the maxim "form follows function". Walter Gropius, Ludwig Mies van der Rohe, Le Corbusier
, Frank Lloyd Wright and Eero
Saarinen were the most significant practicing architects. Their works were far different from each other but all of them used to follow a single style called modern architecture.
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Four architects’ work of that paradigm in brief: Walter
Gropius:
Bauhaus
Germany,
1932
Figure 8: Clear sense of geometry, distinction of solid and voids and floor plan (http://www.greatbuildings.com/buildings/bahous.html)
Observation:
Ludwig Mies van der Rohe: Farnsworth House, Plano, Illinois, 1950
Figure 9: Three dimensional view And Floor plan (http://www.greatbuildings.com/buildings/Farnsworth_Hou se.html)
Observation:
functional as well as aesthetically pleasing
Structure articulating the space
elimination of surface decoration
Transparent, simple and clear
extensive use of glass
Le Corbusier: Ozenfant House, France, 1922
Frank Lloyd Wright: Falling water, Pennsylvania, 1948
Figure 10: Three dimensional view, Plan and Section (http://www.greatbuildings.com/buildings/Ozenfant_Studio.html )
Figure 11: Three dimensional view, Floorplan and Section (http://www.greatbuildings.com/buildings/Fallingwater.htm l)
Observation: Observation: Modular design, flat terrace
Sense of organic through basic geometry
No historical ornament
Sense of solidity
Purity, simplicity and white from outside
Boldness in massing
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6.2 Creative Inspiration of Frank O Gehry: Gehry challenged the mainstream in the 1970s and 1980s which is basically the modern and post-modern architectural movement, but the maverick architect did not achieve real fame until the late 1990s. The Guggenheim Museum in Bilbao, Spain, unveiled by Gehry in 1997, made him a celebrity at the age of sixty-eight. Since then, he is considered to be one of the most important and innovative architects of the twenty-first century. Frank Gehry was born Ephraim Goldberg on February 28, 1929, in Toronto, Ontario, Canada. His father Irving was a former boxer who traveled selling pinball and slot machines. Sometimes Gehry would make sales calls with his father, which meant that he made frequent stops at bars at a very young age. But his mother took him to concerts and introduced him to art. (http://www.notablebiographies.com/news/Ca-Ge/Gehry-Frank.html) Gehry also considers his grandmother to be an early influence. He fondly remembers building imaginary cities with her using wood shavings scavenged from his grandfather's hardware store. He also remembers the carp that his grandmother let swim around in the family bathtub on Friday nights. In later years Gehry regularly used fish motifs in many of his designs. "I never intended to build fish," Gehry told Kurt Andersen of Time. "In my mind, I say 'Enough with the fish.' But it has a life of its own." (http://www.notablebiographies.com/news/Ca-Ge/Gehry-Frank.html) Gehry's early projects were fairly typical of the times and followed the modernist style. Modernist architecture stressed clean, geometric lines, with no clutter and no decoration. Simplicity was key; functionality was the focus. Gehry the artist, however, was itching to experiment. He was very much caught up in the West Coast art movement and counted many emerging artists. By the mid-1960s, Gehry started to, as Richard Lacayo of Time put it, "insinuate odd bits of business into his designs." He began using materials such as unpainted plywood, rough concrete, and corrugated
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metal, all of which are usually hidden after a house is "properly finished." As Gehry told Lacayo, "I was
trying
to
humanize
stuff."
(http://www.notablebiographies.com/news/Ca-Ge/Gehry-
Frank.html) The late 1980s also saw Gehry turning to technology to solve some of his elaborate design problems. Although he begins by physically creating three-dimensional models, sometimes using crumpled paper and soda bottles for the very early ones, computers are necessary to plot out the complicated design specs. Gehry's computer program was adapted from Catia software used in the manufacture of Mirage Dassault . A decade later, it proved key in designing what became Gehry's most famous building, the Guggenheim Museum in Bilbao, Spain. Early work: Gehry House, Santa Monica, California, 1978
Figure 12: Gehry House (http://www.greatbuildings.com/buildings/Gehry_House.html)
Gehry House Frank Gehry's private home in Santa Monica, California began with a traditional tract home with clapboard siding and a gambrel roof. Gehry gutted the interior and re-invented the house as a work of deconstructionist architecture. After stripping the interior down to the beams and rafters, Gehry wrapped the exterior with what appears to be scraps and rubbish: plywood, corrugated
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metal, glass, and chain link. As a result, the old house still exists inside the envelope of the new house. The Gehry House was completed in 1978.
Figure 13: Floor plans (Gossel and Gabriele, 1991, p 360)
Style: Deconstructivist Post-Modern Material: light wood frame, corrugated metal, chain link Functions: Clearly segregation of functions, by basic linear geometry Although the house retains a certain minimalist sense, the effort here is cluttered expressionistic and the sensibility is freely intended as artistically intuitive. Existing Paradigm: The existing paradigm for Frank Gehry was Postmodernity in architecture. Postmodernity in architecture is generally thought to be heralded by the return of "wit, ornament and reference" to architecture in response to the International Style of modernism. New trends became evident in the last quarter of the 20th century as some architects started to turn away from modern Functionalism which they viewed as boring, and which some of the public considered unwelcoming and even unpleasant. These architects turned towards the past, quoting past aspects of various buildings and melding them together (even sometimes in an inharmonious manner) to create a new means of designing buildings. Corbels, different types of arches, vaults, and columns of different kinds from Greek, Roman or Baroque architectural style were obtained for the buildings. Charles W. Moore, Robert Venturi, Philip Johnson, Robert A. M. Stern etc. were the architects who followed postmodernism.
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Four architects’ work of that paradigm in brief:
Charles W. Moore: Piazza d’Italia in New Orleans by Charles Moore (1975-9)
Figure 14: References Roman (http://www.greatbuildings.com)
Classical
architecture
Observation: loud color combinations
Philip Johnson: AT&T Building on Madison Avenue, New York by Philip Johnson (1979)
Figure 15:AT&T Building on (http://factoidz.com/blade-runner)
Madison
Avenue
Observation: Pure symmetry
re-use of esoteric historical-design solutions
Classical influence
Super graphics, stylistic collisions
Dark colors and closeness to the earth
Robert Ventury: Ventury House Chestnut Hill, Philadelphia, Pennsylvania, 1962
Figure 16: Elevation, Floor plan and Section(http://www.greatbuildings.com)
Observation: ‘Outside in’ approach to design Less is bore complexity
Robert A. M. Stern:
Figure 17: Norman Rockwell Museum and Disney's Beach Club Resort, Massachusetts (1993) (http://en.wikipedia.org/wiki/)
Observation: express affection for the past departed from the rigid orthodoxy of steeland-glass modernism
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7. Case studies: Testing Of Hypothesis 7.
The National Parliament building, Dhaka, Bangladesh and The Indian institutes of
management, Ahmedabad, India by Louis I Kahn are able to represent architect’s working style in great detail. So, these buildings would be taken as case study. Similarly, Frank O. Gehry’s work has impressed on appropriate counterpoint to Louis I Kahn’s work in terms of delinking Euclidean geometry, the well documented Guggenhein museum, Bilbao, Spain and The Walt Disney Opera House would be taken as case study. Projects of Louis I Kahn: Assembly Building of Bangladesh Buildings designed by Louis I Kahn are notable for its simple platonic forms and compositions. Through the use of brick and poured in place concrete masonry, he developed a contemporary and monumental architecture. The main character of his building is the clarity and simplicity of the ground plans and elevations which mainly derived from extremely geometrical figure square, circle, rectangle and triangle.
Figure 18: View from adjacent road and Arial view of National Parliament building (http://www.archnet.com) and (http://www.wikimapia.org/#lat=23.7625661&lon=90.3785133&z=17&l=0&m=s)
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Parliament complex in Dhaka, Bangladesh is one of the best projects designed by Louis I Kahn, Clear in form and composition, powerful in scale and sitting. This building is widely considered a masterpiece. The architect drew upon and assimilated both the vernacular and monumental archetypes of the region, and abstracted and transformed, to a degree of utter purity, lasting architectural ideas from many eras and civilizations. The proportion in outer appearance from the front plaza and the road beside it gives a feel of higher authority and still welcoming. Though, the demarcation of the public zone has been done very carefully by making the main building much higher.
Figure 19: Views from the plazas: Feel of solidity (http://www.flickr.com)
The core of the composition is the assembly chamber, a 300-seat, 30-meters high, domed amphitheatre and the library. The building is anchored north south and the circle extends by a distance that can be established geometrically in this direction, between the parade ground and the presidential garden opposite. It distorts the figure as a whole and divides it into two equal parts, so that the rectangular office areas on the periphery find their counterpart not on the axis but slightly shifted.
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Figure 20: Fenestrations of basic geometric shapes (http://en.wikiarquitectura.com/index.php?title=National_Assembly_of_Bangladesh)
There is a sense that the symmetrical individual figures are being blown apart, with exception of the hermetic appendix of the mosque, which falls on to a line running almost precisely east-west, disturbing the axial symmetry, which has been termed as ‘Axial Distortion’. (Gast, 1998, pg. 100) The geometrical openings cut out with surgical precision stands the sharp contrast with the concrete cubes, impart a supreme monumentality to the building quite suited to its noble Figure 21: Bird’s view of Assembly building (http://en.wikiarquitectura.com/index.php?title=National_Assem bly_of_Bangladesh)
functions. Isolation of the masses has been ensured by using
different materials and façade composition by pure form of geometry. Between the hall and the peripheral areas is an air space, a kind of covered exterior area, from whose access galleries the autonomous character and the dimension of the building can be grasped in full height.
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All the sections of the building remain distinguishable as single elements in the exterior, but they are bound together into a unit that forms a whole by the ordering structure of figurative geometry which cannot be grasped directly but is always present. So, from the analysis of plan the process of design can be described as ‘geometrical structuralism’ in which each and every decision has been taken on the basis of geometry.
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Indian Institutes of Management:
The Indian Institute of Management was one of the few commissions that Louis I Kahn made outside the United States. It began in 1962 and that same year the architect
was
commissioned
to
another important work in Dhaka, the
National
Assembly
of
Bangladesh. Louis I. Kahn conceived the Indian Institute of Management as a mixture of austerity and majesty, Figure 22: Plan (Gast, 1998, pg. 121)
including
spaces
for
informal interaction and achieving a
balance between modernism and tradition, which captured the timeless spirit of India. The scale for this great campus was determined by the Indian government and the western state of Gujarat and was inspired by the Harvard Business School. Walls diagonal Diagonal walls have been used as a unifying element between the different formal types of buildings. Have been used subtly in the four corners of the school building and is the main organizing principle within the school buildings, residence and staff accommodation and service.
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Figure 23: Section Gast, 1998, pg. 125)
Halls Facilities include wide corridors that serve as semi-cubiertos transitional spaces in the complex interaction between teachers, students and visitors.
Figure 24: Section (Gast, 1998, pg. 125) and Three dimensional view (http://wikiarquitectura.com/es/images)
Features Distinctive features of these buildings include the many square arches and brick structures on the walls with carved circles.
Figure 25: Fenestrations of basic geometric shapes (http://wikiarquitectura.com/es/images/4/42/Indian_institute_14.jpg)
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Observation on Style of Louis I Kahn : Influenced by Islamic Architecture
Figure 26: Qutub Minar, Delhi Redfort Delhi (http://picasaweb.google.com/lh/photo/k9XFAL3Xu46kqsPqLbIQCw)
Louis I Kahn was influenced by Islamic Architecture. It shows in some of his important works. Like, Elevation Development: Elevation, fenestrations and the faรงade treatments are derived from Islamic architecture. Specially, the innovation is modifying Islamic architectural features in modern way to use it as a strong architectural character.
Division of stonework in panels- an Islamic idea
Division of exposed reinforce concrete in panels with marble strips
Faรงade treatment being influenced by Islamic idea of using small panels
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Elevational treatment of Begum Khaleda Jia Medical College influence by Islamic
Indian Institutes of Management: Architectural features derived from Islamic arch
Fenestrations of Assembly building of Dhaka derived from Islamic architectural feature `
34
Plan Development: Shift of the Mosque: An Islamic idea The mosque has been tilted from the main axis of the whole complex. This is an Islamic idea to highlight the identity of the mosque and to show respect as well. An example had been executed by Mughal Emperor for Moti Masjid, Redfort complex, Delhi in 17th century.
Shift of the mosque from the main axis Axis of the mosque
Main axis
Figure 27: National Parliament building, Dhaka, Bangladesh (http://archnet.org/library/images/one-image.jsp?location_id=1525&image_id=13726)
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Moti Masjid
Shift in Axis
Figure 28: Redfort complex, Delhi
Observation: In both of the buildings, the noticeable architectural attributes are, Total design development process is based on Basic Geometry. The predominance of geometric forms in both plan and elevation; simple platonic forms and composition. Clear segregation of functions Monumental forms Use of locally available material Climate and user friendly building Spaces are mostly in regular shapes and forms as well
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Intention to achieve a balance between modernism and tradition Solidity Plans of the buildings are derived from extremely regular geometric shapes Natural light plays a vital role in arrangement of spaces and functions Can be built with locally available workers Kahn’s projects are found in monumental scale as well as in smaller scales
Projects of Frank O. Gehry: Guggenheim Museum, Bilbao, Spain: The design of the building follows the style of Frank Gehry. Inspired by the shapes and textures of a fish, it can be considered a sculpture, a work of art in itself. The forms do not have any reason nor are governed by any geometric law. The museum is essentially a shell that evokes the past industrial life and port of Bilbao. It consists of a series of interconnected volumes, some formed of orthogonal coated stone and others from a titanium dkeleton covered by an organic skin. The connection between volumes is created by the glass skin. The museum is integrated into the city both by it height and the materials used. Being below the benchmark of the city, it does not surpass the rest of the buildings. The limestone, of a sandy tone, was selected specially for this aim. Seen from the river, the form resembles a boat, but seen from above it resembles a flower.
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Figure 29: The computer generated wire frame
Figure 30: Elevation (http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao)
Figure 31: Reminiscent of fish (Donada Julien, 2002, film)
Figure 32:Cruise
Flower with opening petals
(Donada Julien, 2002, film)
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Design Development Process: The concept of this extremely complex building has been started with automatic writing. Gehry combined the subconsciously Figure 33:Semi automatic writing (Donada Julien, 2002, film)
drawn pencil sketches with the requirements of the building program. The building form was developed first then the
functions were fitted into it. Function follows form, playing with the volume was the main process of design, too far from the classical or modern approach: ‘Form follows functions.’ He interpreted his design into variety of volumes, a standing sculpture. (Donada Julien, 2002, film). He used to make bigger and bigger models added new elements to the building as a puzzle. Under the chaotic appearance created by the opposition of fragmented regular geometric forms, curved forms coated in titanium and large glass walls, the building is built around a central axis.
Figure 34: Floor plan (http://en.wikiarquitectura.com/index.php/G uggenheim_Bilbao)
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Fig: 1
Fig: 2
Fig: 3 Figure 35: Design development (Donada Julien, 2002, film)
Firstly, the areas are placed around the atrium. The galleries are situated concentrically; each of the space is independent. Then, Glass faucets fill the gaps. The galleries on the ground floor are linked by the atrium. Galleries on the upper floors are linked by the two passage ways. 53M
26M
Figure 36: 3D model (Donada Julien, 2002, film)
The highest passage way is 26M from the ground and the highest point is 53m. Between the two there is nothing. 27 m of empty space is inaccessible to the visitors, which is half of the atrium. It is possible to remove the upper part of the museum without touching any painting hung on the walls.
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Figure 37: Elevation (http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao)
Figure 38: Sections (http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao)
The relationship between inside and outside is totally offset by loss of reference. Architect’s concern was to make this building iconic which work as a landmark building and huge; not in human scale. So, wasting of spaces, negative spaces, not using locally available materials and critical regionalism was immaterial in such case. Such architecture can be called as form based architecture.
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The Walt Disney Concert Hall, Los Angeles: The designs of The Walt Disney concert hall represents the style of their creator, architect Frank Gehry, could be considered a work of art in itself. The extravagance of its forms seems to defy any rules of harmony and symmetry. The forms are external inspired by a boat with sails drenched.
Figure 39: Titanium skin (http://en.wikipedia.org/wiki/File:Waltdisney2007.jpg)
The building is essentially a shell which consists of a series of interconnected volumes, some form of orthogonal coated stone and other forms of organic and surfaces covered with a corrugated metal skin of steel. As a bridge between the different volumes are used glazed surfaces.
Figure 40: Plan (http://en.wikiarquitectura.com/index.php/File:12_disney_concert_hall.gif)
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The centerpiece of the interior of the building was designed to represent the hull of a boat. The idea of the architect was to design a room with evocative sculptural forms of music, achieving an intimate connection between the orchestra and audience.
Figure 41: (http://en.wikiarquitectura.com/index.php/File:22_disney_concert_hall.jpg)
Design Development Process: Inside the corrugated metal shell and the seeming disorder, is developing the program in four functional levels. This project has also a plan, derived by basic geometry like Guggenheim Museum, Bilbao. The main access is via a large public space that is generated in the same spot. The main entrance connects with the existing facilities of Figure 42: Aerial View (http://en.wikiarquitectura.com/index.php/File:1 3_disney_concert_hall.jpg)
the Music Center. A secondary access, located at the corner formed by the streets Second Street and Grand Avenue, provides a direct access to the
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gardens. Architect’s
approach
in
plan
counterpoints the approach in three dimensional views from the outside of the building. The hall is accessible from the street. From there we reach the various spaces of the
Figure 43: Free form and curvilinear facades
complex. At the field level located is an area of 3,000 m2 for exhibitions, along with a restaurant and service areas. On the north side of the level of access and forming a volume that stands out the set, is located the Founders Room, a space with lounge and cafeteria. Behind and around the box that makes up the auditorium are located support areas and dressing rooms. Towards the south side, on a volume prismatic lengthened, the offices are located. The park has a capacity of almost 2,200 cars and is distributed in 7 levels. From there you can directly access the interior of the building via escalators. Figure 44: Floor Plan (http://en.wikiarquitectura.com/index.php?title=Walt_Disney_Concert_H all)
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The most important space within the complex is the auditorium for 2265 people. This room was designed with extreme care in the acoustic quality. Designed to look like the hull of a ship, the curved wood ceiling evokes the sails of the boat. The auditorium is equipped with natural light, through wide window on the back side of the room. The audience is placed around the orchestra. A body occupies the central position between the blocs of seats in the rear of the stage. The curves of the ceiling and the provision of internal walls improve the acoustics spreading the sound and producing more thoughts, adding warmth and resonance.
Figure 45: Section (http://en.wikiarquitectura.com/index.php?title=Walt_Disney_Concert_Hall)
Another important area of the complex is the multi-purpose hall Roy and Edna Disney. It has direct access from the street, located in the basement of the complex. The building has also two amphitheaters. The first has 300 seats and is used for children's shows. The second is capacity for 120 spectators.
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Observations on Style of Frank O. Gehry: The scale of this building is far smaller than the same of Guggenheim Museum. In both of the building, the noticeable architectural attributes are, Total design development process is based on volumetric experimentation, influenced by free forms. In both the plans of the buildings spaces are divided in regular geometric manner. Chaotic look from outside, having sculptural quality, treated as art piece. Wastage of many spaces for creating huge volumes Both the form resembles objects mostly related to water ( fish, boat, cruise, boat with a sail, flower etc) Both the building forms each resemble more than one object. Landmark buildings and extremely public building The scale being huge Both the buildings are made by aero craft technology, specialized materials, technique and construction methods are needed 4-8 layers of insulation since covered by a metal Very high budget projects
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8.
Analysis
Placement of arbitrary lines and lines of known algebraic description No confusion can be there with the square and the circle; there may be argument regarding the proportional relationship of the rectangle and the relative appeal may be derived from that particular relationship. We can safely say that aesthetics starts with the rectangle; it becomes more elaborate with the more complex geometric shapes. There may be as many opinions as human beings; the more one distances oneself from the use of shapes that carry within themselves the element of formal uniqueness, the more tedious the task of agreement of people becomes. (Antoniades, 1999, pg, 184) No such problems exist with squares, circles, or other geometric shapes that carry within them the properties of generic uniqueness. Formal uniqueness, whether inherent or man-made, has been a central theme for philosophers, architects, and aesthetes since ancient times. It is man’s conquest over nature, yet a conquest of divine qualities. Plato was the first who addressed the inherent ‘undeniability’ and the laws that govern geometric solids. They were named after him- the Platonic Solids. Other proportions share the vernacular humanity. From the analytical point of view, there is no arbitrary shape; one can always describe any point any line. Yet we tend to call ‘arbitrary’ those lines or shapes whose points do not follow the same analytical formula. By ‘arbitrary’ we mean lines that can be described through different mathematical equations or geometric instruments and follow no apparent reason or order in the sequence of the formulas.
47
Figure 46:Composite and arbitrary lines (Antoniades, 1999, pg, 184)
The ‘line’ to the right is an arbitrary line, a composite line of no apparent logic; it requires much explanation in order to communicate the reason for its configuration and to convince others to accept its existence. Humans were smart enough to use very simple lines for individual buildings, and equally wisely gave in to topography. All of these ideas- mathematics vs. geometry, undeniable vs. arbitrary- have been in the forefront of our attention when dealing with the task of drawing, building and design. Geometry, however, had an extraordinary appeal, so that it constitutes a distinctive channel to architectural creativity. Basic geometry appeals architects for a variety of reason as well. It affords them a palette of shapes of rational undeniability. It makes them feel comfortable with the use of shapes that could be copied and repeated if needed, without fears and practical error. It offers them extraordinary freedom even within the constraints of a preselected form. (The rectangle can take infinite proportional interpretations; so can any other shape.
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It offers psychological assurance, while it permits a variety of psychological stimulations through the different feelings that could be generated with the different proportions given to the shapes. It provides a unifying power of inner communication between those privy to its secrets and thus is a means of identification of social and professional distinction. It offers them more time to think and explore the manipulation and optimum use of preselected shapes, rather than wasting their time inventing new shapes each time.
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9. Conclusion This paper examines the notion of supremacy of geometry over analytical illustration and the reason for the abiding appeal of geometry over the years. The early emphasis of aesthetes on geometry was partial, with focus on elevations, proportional systems and the concept of ‘Symphonic Composition.’ The relationship of the various building types and their corresponding fit with geometry has been discussed through both historical examples and contemporary complex building types of modern architecture and free form architecture. There are emerging ‘new geometries’ but the strength in the basic of the Euclidean geometry is still the foundation of the inclusivist attitude towards geometry. Paradigm Shifts: The existing paradigm in Louis I. Kahn’s period was modern architecture carried out by Walter Gropius, Ludwig Mies van der Rohe, Le Corbusier, Frank Lloyd Wright and Eero Saarinen etc. Although all the architects had their own creative styles, they followed a common philosophy. Aim was to eliminate the ornamentation of near historical architecture and function based thoughts. The architects believed on minimalism and basic form of geometry. But it was anti-historical. At that point of time Louis I. Kahn started practicing architecture and felt the importance of identity and value of learning from history. So, he tried to merge classical principles and Beaux art tradition in modern architectural style. Islamic influences were also found in his design. He evolved a new style with historical references of architecture which led to a paradigm shift in architecture. Architects began to find the Modernist vocabulary restrictive. They grew bored of the sterile, puritan forms. They started portraying their hybrid culture in the architecture. They started copying features from different architectural styles of history in their own buildings. They refused to be
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committed to any single orthodoxy or architectural style. This gave rise to irony and pastiche, which are perhaps the main characteristics of postmodernism. Architects used style ironically.
For
example, a small detail which would be seen on top of a door or window, the postmodernists would expand that to a gigantic scale and carved into the top of the building. So, different styles of architecture were jumbled together. Identity of a particular architecture was lost. Architects found the postmodern architecture ‘overdone’. Frank Owen Gehry started new paradigm in architecture with an innovative way to approach architecture on 1980. He started practicing non-linear and free form architecture. Designs made by Gehry following free form architecture were impossible to express without help of the software. Execution and manufacture process had to be digital as well. Availability of material and technology has a strong influence on paradigm shifts. These have a control over possibilities of design. Earlier, in Louis I Kahn’s time the software and the digital geometry was not obtainable, so the architects used to design as far the possibilities of the ages. Whatever the design is, if the technology and material available in the market cannot support the structure; it is unachievable. Alternatively, for Frank O Gehry, supportive software for free form and the material out of which smooth curves would be possible were available in market. He had the flexibility to explore the possibilities of digital geometry by the help of software. Familiarity and Alienation: Buildings with basic geometry are made out of local materials/technology as well as labors. These buildings can be made with simple conventional expertise. People are associated with simple geometric forms made out of locally available material and knowledge over thousands of years. Hence, people identify these forms and find easily acceptable. In case of free form architecture, to
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achieve the smooth curve facades; special technology, workers and materials have been used controlled by software. This was a new addition to architecture. These type of building are made in huge scale and unconventional way of construction and materials. So, people consider alienation with these forms and style of architecture. Buildings of free form demand huge budget. As a result, those type of building remains very iconic and generally not being made by individuals. Both the criteria may have strong architectural character including functionality, external expression, and monumentality on their own. But geometry based architecture is more economical, convenient to the users and builders, hence, more commonly constructed in different scale.
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10. REFERENCES: Books Antoniades Anthony C., 1999, Poetics Of Architecture Theory Of Design, Van Nostrand Reinhold, New York. ISBN 0-442-23990-4 Baker Geofirey H. 1984, Le Corbusier An Analysis Of Form, published in by Van Nostrand Reinhold International Co Ltd. Third Edition ISBN: 0-419-1620-1 Boyer, Carl B. (1991). "The Age of Plato and Aristotle". A History of Mathematics (Second Edition ed.). John Wiley & Sons, ISBN 0471543977. Corbusier Le, 1950, The Modulor A Harmonious Measure to the Human Scale Universally Applicable to Architecture and Mechanics, Harvard University Press, Cambridge. Translated by Peter De Francia And Anna Bostock. Donada Julien, 2002, un film de, Lee Musee Guggenheim De Bilbao Eves Howard (1963). A Survey of Geometry. Allyn and Bacon. Gast Klaus Peter, 1998, Louis I. Kahn, The Idea Of Order, Messedruck Leipzing GmbH. ISBN: 37643-5860-2. Husserl Edmund, 1962, Origins of Geometry, Introduction by Jacques Derrida, ISBN 0-81011030-X Kuhn, Thomas, S., 1970(1962),"The Structure of Scientific Revolutions", Second Edition, Enlarged, The University of Chicago Press, Chicago, Moyer, A.M., 1992: Musica Scientia. Musical Scholarship in the Italian Renaissance. New York: Cornell University.
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Vitruvius Marcus, 1914, Ten Books on Architecture, translated by Morris Hicky Morgan, ISBN: 486-20645-9, Dover publications, Inc. 180, Varick Street, New York. Vignola, [1562] 1593: Regla de las cinco 贸rdenes de architectura. [Roma] Madrid. Wittkower, R., [1949] 1995: Los fundamentos de la arquitectura en la edad del humanismo. [London: Warburg]
BIBLIOGRAPHY: Books Somol R.E. Peter,1999 ,Eisenman Diagram Diaries by Thames & Hudson Ltd, 1814 High Holborn, London WC1V7Qx Universe Publishing. ISBN: 0-500-28128-9. Wiebenson, D. (ed.), 1982: Architectural theory and practice from Alberti to Ledoux. Chicago. Vitruvius Marcus, 1914, Ten Books on Architecture, translated by Morris Hicky Morgan, ISBN: 486-20645-9, Dover publications, Inc. 180, Varick Street, New York. Corbusier Le, 1950, The Modulor A Harmonious Measure to the Human Scale Universally Applicable to Architecture and Mechanics, Harvard University Press, Cambridge. Translated by Peter De Francia And Anna Bostock. Ching Francis D. K. June 2007, Architecture: Form, Space, & Order, 3rd Edition, ISBN: 978-0-47175216-5. Gast Klaus Peter, 1998, Louis I. Kahn, The Idea Of Order, Messedruck Leipzing GmbH. ISBN: 37643-5860-2. Roger H Clark and Michael Pause, 1996, Precedents in Architecture, published by John Wiley & sons. Inc. New York in. Third Edition. ISBN: 0-471-28703-2
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Baker Geofirey H. 1984, Le Corbusier An Analysis Of Form, published in by Van Nostrand Reinhold International Co Ltd. Third Edition ISBN: 0-419-1620-1 Vitruvious Marcus, 2003, Writing the Body of Architecture by Indra Kagis McEwen. The MIT press Cambridge, Massachusetts London, England. ISBN: 0-262-13415-2 Vignola, [1562] 1593: Regla de las cinco órdenes de architectura. [Roma] Madrid. Wiebenson, D. (ed.), 1982: Architectural theory and practice from Alberti to Ledoux. Chicago. Wittkower, R., [1949] 1995: Los fundamentos de la arquitectura en la edad del humanismo. [London: Warburg] Moyer, A.M., 1992: Musica Scientia. Musical Scholarship in the Italian Renaissance. New York: Cornell University. Eves Howard (1963). A Survey of Geometry. Allyn and Bacon. Husserl Edmund, 1962, Origins of Geometry, Introduction by Jacques Derrida, ISBN 0-81011030-X Boyer, Carl B. (1991). "The Age of Plato and Aristotle". A History of Mathematics (Second Edition ed.). John Wiley & Sons, ISBN 0471543977. Braun, Hugh, An Introduction to English Mediaeval Architecture, London: Faber and Faber, 1951. Francis Ching, Mark Jarzombek, Vikram Prakash, A Global History of Architecture, Wiley, 2006. Copplestone, Trewin. (ed). (1963). World architecture - An illustrated history. Hamlyn, London. Hitchcock, Henry-Russell, The Pelican History of Art: Architecture: Nineteenth and Twentieth Century’s, Penguin Books, 1958.
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Nuttgens, Patrick (1983), The Story of Architecture, Prentice Hall, ISBN Watkin, David (Sep 2005), A History of Western Architecture, Hali Publications Fletcher Sir Banister, a History of Architecture Fletcher, Banister; Cruickshank, Dan, Architectural Press, 20th edition, 1996. ISBN 0750622679 Donada Julien, 2002, un film de, Lee Musee Guggenheim De Bilbao Gossel Peter and Leuthauser Gabriele. Architecture in the Twentieth Century. Germany: Benedikt Taschen Verlag, 1991. ISBN 3-8228-0550-5.
WEB SITES/ UNIFORM RESOURCE LOCATOR (URL):
www.archnet .com www.google.co.in www.wikiarquitectura.com www.greatbuildings.com www.wikipedia.org www.wikipedia.org www.wikimapia.org www.flickr.com www.archnet.org picasaweb.google.com (http://www.google.co.in/imgres?imgurl=http://www.squarecirclez.com/blog/wpcontent/uploads/2008/01/vitruvian-man.jpg), Date accessed: 30.8. 2010
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(http://britton.disted.camosun.bc.ca/goldslide/jbgoldslide.htm), Date accessed: 3.9. 2010 (http://www.rochesterunitarian.org/Kahn) , Date accessed: 13.9. 2010 (http://www.wikiarquitectura.com/index.php/Archivo:Oser_2.jpg) , Date accessed: 24.9. 2010 (http://www.notablebiographies.com/news/Ca-Ge/Gehry-Frank.html) , Date accessed: 24.9. 2010 (http://factoidz.com/blade-runner) Date accessed: 4.10. 2010 (http://www.wikimapia.org/#lat=23.7625661&lon=90.3785133&z=17&l=0&m=s) Date accessed: 5.11. 2010 (http://en.wikiarquitectura.com/index.php?title=National_Assembly_of_Bangladesh), Date accessed: 24.9. 2010 (http://picasaweb.google.com/lh/photo/k9XFAL3Xu46kqsPqLbIQCw) , Date accessed: 24.9. 2010 (http://archnet.org/library/images/one-image.jsp?location_id=1525&image_id=13726) , Date accessed: 5.11. 2010
UNPUBLISHED DISSERTATIONS •
Ray, Mainak, Form of the circle it’s entity in Architecture,1997
•
Chatterjee, M., In search of the Lost Grid, 1998
•
Alex, Aneesha, Interactive Architecture, 2007
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LIST OF FIGURES: Figure 1: Vitruvian man (http://www.google.co.in/imgres?imgurl=http://www.squarecirclez.com/blog/wpcontent/uploads/2008/01/vitruvian-man.jpg) ......................................................................................... 12 Figure 2: Floor plan of the Parthenon
Figure 3: Parthenon, Acropolis, Athens .............. 13
Figure 4: Guggenheim Museum, Bilbao, Spain (www.archnet .com) ...................................................... 16 Figure 5: Front view of Jesse Oser House
Figure 6: Rear view of Jesse Oser House
(http://www.wikiarquitectura.com/index.php/Archivo:Oser_2.jpg)....................................................... 20 Figure 7: Ground floor plan and First floor plan (http://eng.archinform.net/projekte/2043.htm)......... 20 Figure 8: Clear sense of geometry, distinction of solid and voids and floor plan (http://www.greatbuildings.com/buildings/bahous.html) ...................................................................... 22 Figure 10: Three dimensional view, Plan and Section .............................................................................. 22 Figure 11: Three dimensional view, Floorplan and Section (http://www.greatbuildings.com/buildings/Fallingwater.html) .............................................................. 22 Figure 12: Gehry House (http://www.greatbuildings.com/buildings/Gehry_House.html) ..................... 24 Figure 13: Floor plans (Gossel and Gabriele, 1991, p 360) ....................................................................... 25 Figure 14: References Roman Classical architecture (http://www.greatbuildings.com) ......................... 26 Figure 15:AT&T Building on Madison Avenue (http://factoidz.com/blade-runner) ................................ 26 Figure 16: Elevation, Floor plan and Section(http://www.greatbuildings.com) ...................................... 26 Figure 18: View from adjacent road and Arial view of National Parliament building (http://www.archnet.com) and (http://www.wikimapia.org/#lat=23.7625661&lon=90.3785133&z=17&l=0&m=s) ............................... 27 Figure 19: Views from the plazas: Feel of solidity (http://www.flickr.com) ............................................ 28 Figure 20: Fenestrations of basic geometric shapes ................................................................................ 29 Figure 21: Bird’s view of Assembly building (http://en.wikiarquitectura.com/index.php?title=National_Assembly_of_Bangladesh) ........................ 29
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Figure 22: Plan (Gast, 1998, pg. 121) ........................................................................................................ 31 Figure 23: Section Gast, 1998, pg. 125) ................................................................................................... 32 Figure 25: Fenestrations of basic geometric shapes (http://wikiarquitectura.com/es/images/4/42/Indian_institute_14.jpg) ................................................ 32 Figure 26: Qutub Minar, Delhi
Redfort Delhi
(http://picasaweb.google.com/lh/photo/k9XFAL3Xu46kqsPqLbIQCw)................................................... 33 Figure 27: National Parliament building, Dhaka, Bangladesh .................................................................. 35 Figure 28: Redfort complex, Delhi ............................................................................................................ 36 Figure 29: The computer generated wire frame ...................................................................................... 38 Figure 30: Elevation (http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao) ........................ 38 Figure 31: Reminiscent of fish (Donada Julien, 2002, film) ...................................................................... 38 Figure 32:Cruise
Flower with opening petals ....................................... 38
Figure 33:Semi automatic writing (Donada Julien, 2002, film) ................................................................ 39 Figure 34: Floor plan ................................................................................................................................. 39 Figure 35: Design development (Donada Julien, 2002, film) .................................................................... 40 Figure 37: Elevation (http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao) ........................ 41 Figure 38: Sections (http://en.wikiarquitectura.com/index.php/Guggenheim_Bilbao).......................... 41 Figure 39: Titanium skin (http://en.wikipedia.org/wiki/File:Waltdisney2007.jpg) .................................. 42 Figure 40: Plan (http://en.wikiarquitectura.com/index.php/File:12_disney_concert_hall.gif)............... 42 Figure 41: (http://en.wikiarquitectura.com/index.php/File:22_disney_concert_hall.jpg)...................... 43 Figure 42: Aerial View(http://en.wikiarquitectura.com/index.php/File:13_disney_concert_hall.jpg) ... 43 Figure 43: Free form and curvilinear facades ........................................................................................... 44 Figure 44: Floor Plan(http://en.wikiarquitectura.com/index.php?title=Walt_Disney_Concert_Hall) .... 44 Figure 45: Section (http://en.wikiarquitectura.com/index.php?title=Walt_Disney_Concert_Hall) ........ 45 Figure 46:Composite and arbitrary lines (Antoniades, 1999, pg, 184) ..................................................... 47
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