UNIT 2:

Postmodern architecture evolved from the modernist movement, yet contradicts many of the modernist ideas. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer.

The key ideas of Postmodernism are set forth in two important books by Robert Venturi:Complexity and Contradiction in Architecture and Learning from Las Vegas.

Postmodern architecture began as an international style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970s[1] and continues to influence present-day architecture. Postmodernity in architecture is said to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of Postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of themodernist style are replaced by diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building which had been abandoned by the modern style.

Influential early large-scale examples of postmodern architecture are Michael Graves' Portland Building in Portland, Oregon and Philip Johnson's Sony Building (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture.

Postmodern architecture has also been described as "neo-eclectic", where reference and ornament have returned to the facade, replacing the aggressively unornamented modern styles. This eclecticism is often combined with the use of non-orthogonal angles and unusual surfaces, most famously in the State Gallery of Stuttgart by James Stirling and the Piazza d'Italia by Charles Moore. The Scottish Parliament Building in Edinburgh have also been cited as being of postmodern vogue.

Modernist architects may regard postmodern buildings as vulgar, associated with a populist ethic, and sharing the design elements of shopping malls, cluttered with "gew-gaws". Postmodern architects may regard many modern buildings as soulless and bland, overly simplistic and abstract. This contrast was exemplified in the juxtaposition of the "whites" against the "grays," in which the "whites" were seeking to continue (or revive) the modernist tradition of purism and clarity, while the "grays" were embracing a more multifaceted cultural vision, seen in Robert Venturi's statement rejecting the "black or white" world view of modernism in favor of "black and white and sometimes gray." The divergence in opinions comes down to a difference in goals: modernism is rooted in minimal and true use of material as well as absence of ornament, while postmodernism is a rejection of strict rules set by the early modernists and seeks meaning and expression in the use of building techniques, forms, and stylistic references.

One building form that typifies the explorations of Postmodernism is the traditional gable roof, in place of the iconic flat roof of modernism. Shedding water away from the center of the building, such a roof form always served a functional purpose in climates with rain and snow, and was a logical way to achieve larger spans with shorter structural members, but it was nevertheless relatively rare in modern houses. (These were, after all, "machines for living," according to LeCorbusier, and machines did not usually have gabled roofs.) However, Postmodernism's own modernist roots appear in some of the noteworthy examples of "reclaimed" roofs. For instance, Robert Venturi's Vanna Venturi House breaks the gable in the middle, denying the functionality of the form, and Philip Johnson's 1001 Fifth Avenue in Manhattan advertises a mansard roof form as an obviously flat, false front. Another alternative to the flat roofs of modernism would exaggerate a traditional roof to call even more attention to it, as when Kallmann McKinnell & Wood'sAmerican Academy of Arts and Sciences in Cambridge, Massachusetts, layers three tiers of low hipped roof forms one above another for an emphatic statement of shelter.

Aims and characteristics

The aims of Postmodernism, including solving the problems of Modernism, communicating meanings with ambiguity, and sensitivity for the building’s context, are surprisingly unified for a period of buildings designed by architects who largely never collaborated with each other. The aims do, however, leave room for various implementations as can be illustrated by the diverse buildings created during the movement. These physical characteristics are combined with conceptual

characteristics of meaning. These characteristics of meaning include pluralism, double coding, flying buttresses and high ceilings, irony and paradox, and contextualism.

The sculptural forms, not necessarily organic, were created with much ardor. These can be seen in Hans Hollein’s Abteiberg Museum (1972–1982). The building is made up of several building units, all very different. Each building’s forms are nothing like the conforming rigid ones of Modernism. These forms are sculptural and are somewhat playful. These forms are not reduced to an absolute minimum; they are built and shaped for their own sake. The building units all fit together in a very organic way, which enhances the effect of the forms.

Postmodernism, with its sensitivity to the building’s context, did not exclude the needs of humans from the building. Carlo Scarpa's Brion Cemetery (1970–72) exemplifies this. The human requirements of a cemetery is that it possesses a solemn nature, yet it must not cause the visitor to become depressed. Scarpa’s cemetery achieves the solemn mood with the dull gray colors of the walls and neatly defined forms, but the bright green grass prevents this from being too overwhelming. Postmodern buildings sometimes utilize trompe l'oeil, creating the illusion of space or depths where none actually exist, as has been done by painters since the Romans. The Portland Building (1980) has pillars represented on the side of the building that to some extent appear to be real, yet they are not.

The Hood Museum of Art (1981–1983) has a typical symmetrical façade which was at the time prevalent throughout Postmodern Buildings

Robert Venturi’s Vanna Venturi House (1962–64) illustrates the Postmodernist aim of communicating a meaning and the characteristic of symbolism. The façade is, according to Venturi, a symbolic picture of a house, looking back to the 18th century. This is partly achieved through the use of symmetry and the arch over the entrance.

Perhaps the best example of irony in Postmodern buildings is Charles Moore’s Piazza d'Italia (1978). Moore quotes (architecturally) elements of Italian renaissance andRoman Antiquity.

Double coding meant the buildings convey many meanings simultaneously. The Sony Building in New York does this very well. The building is a tall skyscraper which brings with it connotations of very modern technology. Yet, the top contradicts this. The top section conveys elements of classical antiquity. This double coding is a prevalent trait of Postmodernism.

Influential architects

Some of the best-known and influential architects in the Postmodern style are:

Aldo Rossi

Barbara Bielecka

Ricardo Bofill

John Burgee

Terry Farrell

Michael Graves

Helmut Jahn

Jon Jerde

Philip Johnson

Ricardo Legorreta

Frank Gehry

Charles Moore

Boris Podrecca

Cesar Pelli

Paolo Portoghesi

Antoine Predock

Tomás Taveira

Robert A.M. Stern

James Stirling

Robert Venturi

Peter Eisenman

Mario Botta MAIN THINGS OF POST MODERNISM: Complexity and Contradiction in Architecture In this groundbreaking book, published in 1966, Robert Venturi challenged modernism and celebrated the mix of historic styles in great cities such as Rome.

Learning from Las Vegas Subtitled "The Forgotten Symbolism of Architectural Form," this postmodernist classic called the "vulgar billboards" of the Vegas Strip emblems for a new architecture. Published in 1972, the book was written by Robert Venturi, Steven Izenour, and Denise Scott Brown.

Portland blgs in Portland,Oregon,micheal graves vanna house by Robert venture

HISTORY OF REVIVALISM I. INTRODUCTION.

Revivalism is usually considered to be those movements within Christianity which emphasizes the religious appeal to the emotions as well as to intellect of individuals to restore them to an active participation in Christian activities. It believes that a vital Christianity begins with the response of the individual's whole being to the gospel call for repentance and spiritual rebirth to faith in Jesus Christ. This experience is the beginning of a personal relationship to God.

Some have sought to make revivalism just an American experience and only on the frontier in the early years of the American continental expansion. But revivalism can be seen to be a much broader Christian phenomena. The modern revival movement has its historical roots in the Puritan-pietistic reaction to the rationalism of the Enlightenment and to the Lutheran and Calvinistic theological creedal formulations of Reformation faith that characterized much of the seventeenth century. This reaction resisted the depersonalization of their religion. These revivalists emphasized a more experiential element of their Reformation faith which emphasized personal commitment and obedience to Christ and a life regenerated by the indwelling Holy Spirit. They also emphasized personal witness and missions as a primary responsibility of the individual Christian and of the church. Subjective religious experience and the importance of the individual became a new force in the renewing and expansion of the church. These concerns gradually permeated much of Protestantism, especially in the developing churches in America.

II. THE HISTORY OF REVIVALISM. Revivals have occurred at various times in the modern period of a renewal of faith and life:

A. Pietism reacted to the deadness of the church and to the rationalism of the Enlighenment in 17th century;

B. Quakerism reacted to the sacramentalism in the English church; C. John Wesley began an Evangelical Awakening in England in the 18th century; D. Wesley's theology is essentially Arminianism, which is usually contrasted

with Calvinism. E. the First Great Awakening occurred in the 18th century; F. the Second Great Awakening occurred at the beginning of 19th century; G. Charles Finney spread the the Second Awakening. H. The Blanchards preserved the effects of the Second Awakening. I. the Fulton Street or Layman Revival began in 1858; J. Dwight L. Moody conducted revival and evangelistic meetings from 1875 to

1899; K. the Holiness revival began after the American Civil War in 1875;

L. the Pentecostal revival occurred at the beginning of 20th century; M. the charismatic renewal movement occurred during the 1960's and 70's. III. CONCLUSION.

Why are revivals needed? The answer is legalism. Salvation by works is one aspect of legalism which attempts to understand the relationship between God and man in terms of the law. Legalism is not just having a lot of do's and don'ts, rules and regulations. It is a misunderstanding of the rules and regulations and of the law of God. The law of God is not legalism; it was the covenant relationship between God and the people of Israel. In the Old Testament, Israel was not saved by meritorious works of the law; they were not under the law but in a covenant relationship to God (see the Greek of Romans 2:12 and 3:19). Legalism attempts to put all men under the law; that is, to define man's relationship to God in terms of the law. And in particular, legalism attempts to put the Christian under the law (contrary to Rom. 6:14).

"For sin shall not have dominion over you: for you are not under the law, but under grace." (Rom. 6:14)

This legalism is the cause of many problems in the church. It is the cause of a dead orthodoxy and a cold, unloving Christianity. To correct these effects of legalism there have arisen in the church various revival movements such as pietism, the evangelical awakening, the deeper life movement, revivalism, etc. None of these movements went to the source of the deadness, coldness and unlovableness but often just reinforced the cause -- legalism. The great outpouring of the Spirit starting at the beginning of the twentieth century has been constantly burdened and limited by the frequent relapses into the same legalism. And the source of the legalism in practice is the legalism of the theology. Practical legalism is the result of theological legalism. The problem is not too much theology but bad theology, legalistic theology. This theological legalism has misunderstood the Gospel of our salvation.

A. Salvation by the Grace of God B. The Misunderstanding of the Grace of God C. The Misunderstanding of the Need for Salvation D. The Biblical Understanding of Salvation E. The Misunderstanding of Salvation F. The Misunderstanding of the Christian Life G. Deliverance from Legalism H. The Christian Life and Legalism I. The Christian and the Holy Spirit J. The Baptism with the Spirit

With the present move of the Spirit, the time has come to remove the cause of this practical legalism by clearing the theological legalism out of our theology and again recovering the Bibical understanding of the Gospel of our salvation. Such a theological renewal should be the natural accompaniment of the move of the Spirit of God today and could produce a reformation comparable to the Protestant Reformation of the 16th century. This paper is an attempt to contribute to such a theological renewal and to prepare for the last great revival.

Critical regionalism Critical Regionalism is an approach to architecture that strives to counter placelessness and lack of identity in Modern Architecture by using the building's geographical context. The term Critical Regionalism was first used by the architectural theorists Alexander Tzonis and Liane Lefaivre and, with a slightly different meaning, by the historian-theorist Kenneth Frampton.

Critical Regionalism is not regionalism in the sense of vernacular architecture, but is, on the contrary, an avant-gardist, modernist approach, but one that starts from the premises of local or regional architecture. The idea of critical regionalism emerged at a time during the early 1980s when Postmodern architecture, itself a reaction toModernist architecture, was at its height. However, the writer most associated with Critical Regionalism, Kenneth Frampton, was in fact critical towards postmodernism. Part of the reason for the confusion over the term Critical Regionalism is that Frampton's famous essay "Towards a Critical Regionalism: Six points for an architecture of resistance" was first published in the book "The Anti-Aesthetic: Essays on Postmodern Culture" (1983) edited by Hal Foster. In the Preface to the book, Foster begins by asking whether postmodernism exists at all and what it could even mean. He then states that what nine of the ten authors in the book have in common - the exception is the philosopher Jürgen Habermas - is the common belief that "the project of modernity is now deeply problematic".

Critical regionalist architects

In addition to Aalto and Utzon, the following architects have used Critical Regionalism (in the Frampton sense) in their work: Studio Granda, Mario Botta, Mazharul Islam,B. V. Doshi, Charles Correa, Alvaro Siza, Jorge Ferreira Chaves, Rafael Moneo, Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Glenn Murcutt, Ken Yeang, William S.W. Lim, Tay Kheng Soon, Juhani Pallasmaa, Juha Leiviskä, Carlo Scarpa, Tan Hock Beng. Dimitris & Suzana Antonakakis are the two Greek architects for whom the term was first used by Tzonis and Lefaivre.

Deconstructivism is a development of postmodern architecture that began in the late 1980s. It is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterized by a stimulating unpredictability and a controlled chaos.

Important events in the history of the deconstructivist movement include the 1982 Parc de la Villette architectural design competition (especially the entry from Jacques Derrida and Peter Eisenman[1] and Bernard Tschumi's winning entry), the Museum of Modern Art’s 1988Deconstructivist Architecture exhibition in New York, organized by Philip Johnson and Mark Wigley, and the 1989 opening of the Wexner Center for the Arts in Columbus, designed by Peter Eisenman. The New York exhibition featured works by Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelb(l)au, and Bernard Tschumi. Since the exhibition, many of the architects who were associated with Deconstructivism have distanced themselves from the term. Nonetheless, the term has stuck and has now, in fact, come to embrace a general trend within contemporary architecture.

Originally, some of the architects known as Deconstructivists were influenced by the ideas of the French philosopher Jacques Derrida. Eisenman developed a personal relationship with Derrida, but even so his approach to architectural design was developed long before he became a Deconstructivist. For him Deconstructivism should be considered an extension of his interest in radical formalism. Some practitioners of deconstructivism were also influenced by the formal experimentation and geometric imbalances of Russian constructivism. There are additional references in deconstructivism to 20th-century movements: the modernism/postmodernism interplay, expressionism, cubism,minimalism and contemporary art. The attempt in deconstructivism throughout is to move architecture away from what its practitioners see as the constricting 'rules' of modernism such as "form follows function," "purity of form," and "truth to materials."

Deconstructivist philosophy The main channel from deconstructivist philosophy to architectural theory was through the philosopher Jacques Derrida's influence with Peter Eisenman. Eisenman drew some philosophical bases from the literary movement Deconstruction, and collaborated directly with Derrida on projects including an entry for the Parc de la Villette competition, documented in Chora l Works. Both Derrida and Eisenman, as well as Daniel Libeskind[4] were concerned with the "metaphysics of presence," and this is the main subject of deconstructivist philosophy in architecture theory. The presupposition is that architecture is a language capable of communicating meaning and of receiving treatments by methods of linguistic philosophy.[5] The dialectic of presence and absence, or solid and void occurs in much of Eisenman's projects, both built and unbuilt. Both Derrida and Eisenman believe that the locus, or place of presence, is architecture, and the same dialectic of presence and absence is found in construction and deconstructivism.[6]

According to Derrida, readings of texts are best carried out when working with classical narrative structures. Any architectural deconstructivism requires the existence of a particular archetypalconstruction, a strongly-established

conventional expectation to play flexibly against.[7] The design of Frank Gehry’s own Santa Monica residence, (from 1978), has been cited as a prototypical deconstructivist building. His starting point was a prototypical suburban house embodied with a typical set of intended social meanings. Gehry altered its massing, spatial envelopes, planes and other expectations in a playful subversion, an act of "de"construction"[8]

In addition to Derrida's concepts of the metaphysics of presence and deconstructivism, his notions of trace and erasure, embodied in his philosophy of writing and arche-writing[9] found their way into deconstructivist memorials. Daniel Libeskind envisioned many of his early projects as a form of writing or discourse on writing and often works with a form of concrete poetry. He made architectural sculptures out of books and often coated the models in texts, openly making his architecture refer to writing. The notions of trace and erasure were taken up by Libeskind in essays and in his project for the Jewish Museum Berlin. The museum is conceived as a trace of the erasure of the Holocaust, intended to make its subject legible and poignant. Memorials such as Maya Lin's Vietnam Veterans Memorial and Peter Eisenman's Memorial to the Murdered Jews of Europe are also said to reflect themes of trace and erasure.

Modernism and postmodernism Deconstructivism in contemporary architecture stands in opposition to the ordered rationality of Modernism. Its relationship with Postmodernism is also decidedly contrary. Though postmodernist and nascent deconstructivist architects published theories alongside each other in the journal Oppositions (published 1973–84), that journal's contents mark the beginning of a decisive break between the two movements. Deconstructivism took a confrontational stance toward much of architecture and architectural history, wanting to disjoin and disassemble architecture.[2] While postmodernism returned to embrace— often slyly or ironically—the historical references that modernism had shunned, deconstructivism rejects the postmodern acceptance of such references. It also rejects the idea of ornament as an after-thought or decoration.

In addition to Oppositions, another text that separated deconstructivism from the fray of modernism and postmodernism was the publication of Robert Venturi'sComplexity and Contradiction in architecture (1966). A defining point for both postmodernism and for deconstructivism, Complexity and Contradiction argues against the purity, clarity and simplicity of modernism. With its publication, functionalism and rationalism, the two main branches of modernism, were overturned as paradigms according to differing postmodernist and deconstructivist readings. The postmodern reading of Venturi (who was himself a postmodernist) was that ornament and historical allusion added a richness to architecture that modernism had foregone. Some Postmodern architects endeavored to reapply ornaments even to economical and minimal buildings, an effort best illustrated by Venturi's concept of "the decorated shed." Rationalism of design was dismissed but the functionalism of the building was still somewhat intact. This is close to the thesis of Venturi's next major work,[3] that signs and ornament can be applied to a pragmatic architecture, and instill the philosophic complexities of semiology.

The deconstructivist reading of Complexity and Contradiction is quite different. The basic building was the subject of problematics and intricacies in deconstructivism, with no detachment for ornament. Rather than separating ornament and function, like postmodernists such as Venturi, the functional aspects of buildings were called into question. Geometry was to deconstructivists what ornament was to postmodernists, the subject of complication, and this complication of geometry was in turn, applied to the functional, structural, and spatial aspects of deconstructivist buildings. One example of deconstructivist complexity is Frank Gehry's Vitra Design Museum in Weil-am-Rhein, which takes the typical unadorned white cube of modernist art galleries and deconstructs it, using geometries reminiscent of cubism and abstract expressionism. This subverts the functional aspects of modernist simplicity while taking modernism, particularly the international style, of which its white stucco skin is reminiscent, as a starting point. Another example of the deconstructivist reading of Complexity and Contradiction is Peter Eisenman's Wexner Center for the Arts.

Vitra Design Museum by Frank Gehry,Weil am Rhein Seattle Central Library by architect Rem Koolhaas

Peter Eisenman

(born August11, 1932 in Newark, New Jersey is an American architect. Eisenman's fragmented forms are identified with an eclectic group of architects that have been labeled as deconstructivistsEisenman's theories on architecture pursue the emancipation and autonomy of the discipline and his work represents a continued attempt to liberate form from all meaning, a struggle that most find difficult to accept. He always

had strong cultural relationships with European intellectuals like his English mentor Colin Rowe and the Italian historian Manfredo Tafuri. The work of philosopher Jacques Derrida is a key influence in Eisenman's architecture. Eisenman first rose to prominence as a member of the New York Five (also known as the Whites, as opposed to the Grays of Yale: Bob Stern, Charles Moore, etc.), five architects (Eisenman, Charles Gwathmey, John Hejduk, Richard Meier, and Michael Graves) some of whose work was presented at a CASE Studies conference in 1967. Eisenman received a number of grants from the Graham Foundation for work done in this period. These architects' work at the time was often considered a reworking of the ideas of Le Corbusier. Subsequently, the five architects each developed unique styles and ideologies, with Eisenman becoming more affiliated with the Deconstructivist movement.

Buildings and works

Falk House (House II Eisenman), Hardwick, Vermont, 1969 House VI (Frank residence), Cornwall, Connecticut, Design: 1972. Wexner Center for the Arts, Ohio State University, Columbus, Ohio, 1989 Nunotani building, Edogawa Tokyo Japan, 1991 [1] Greater Columbus Convention Center, Columbus, Ohio, 1993 [2] Aronoff Center for Design and Art, University of Cincinnati, Cincinnati, Ohio, 1996 City of Culture of Galicia, Santiago de Compostela, Galicia, Spain, 1999 Il giardino dei passi perduti, Castelvecchio Museum, Verona, 2004 Memorial to the Murdered Jews of Europe, Berlin, 2005 University of Phoenix Stadium, Glendale, Arizona, 2006

City of Culture of Galicia City of Culture of Galicia (Galician: Cidade da Cultura de Galicia) is a complex of cultural buildings in Santiago de Compostela, A Coruña, Galicia, Spain, designed by architect Peter Eisenman and office. The buildings are an extreme challenge to construct as the design of them makes them look like rolling hills with high degree contours. Nearly every window of the thousands that are part of the external façade has its own custom shape.[1] It is set to be completed in 2012, taking 10 years to complete.

In February 1999 the Parliament of Galicia held an international design competition for a cultural center on Mount Gaiás. The entrants were Ricardo Bofill,Manuel Gallego Jorreto, Annette Gigon and Mike Guyer, Steven Holl, Rem Koolhaas, Daniel Libeskind, Juan Navarro Baldeweg, Jean Nouvel, Dominique Perrault, Cesar Portela, Santiago Calatrava, who later withdrew his proposal, and Eisenman, whose proposal was selected for both conceptual uniqueness and exceptional harmony with the place.

The concept of the project is a new peak on Monte Gaiás, made up of a stony crust reminiscent of an archaeological site divided by natural breaks that resemble scallops, the traditional symbol of Compostela.

The building site has also become the base for the development of a public transparency urban experiment by the Spanish architect and artist Andrés Jaque. With Jaque's 12 Actions to Make the

Cidade da Cultura Transparent, the building site was equipped with devices that make the political implications and ecological extension of the construction works understandable for the general public.

Wexner centre: The Wexner Center for the Arts is The Ohio State University’s multidisciplinary, international laboratory for the exploration and advancement ofcontemporary art. Through exhibitions, screenings, performances, artist residencies, and educational programs, the Wexner Center acts as a forum where established and emerging artists can test ideas and where diverse audiences can participate in cultural experiences that enhance understanding of the art of our time. In its programs, the Wexner Center balances a commitment to experimentation with a commitment to traditions of innovation and affirms the university’s mission of education, research, and community service. The Wexner Center opened in November 1989, named in honor of the father of Limited Brands founder Leslie Wexner, who was a major donor to the Center.

Architecture

The Wexner Center's building was designed by architects Peter Eisenman of New York and the late Richard Trott of Columbus with landscape architect Laurie Olin of Philadelphia.

The Wexner Center was the first major public building to be designed by Eisenman, previously known primarily as a teacher and theorist. He has gone on to design and build a number of other major projects including the Greater Columbus Convention Center.

The design includes a large, white metal grid meant to suggest scaffolding, to give the building a sense of incompleteness in tune with the architect's deconstructivist tastes. Eisenman also took note of the mismatched street grids of the OSU campus and the city of Columbus, which vary by 12.25 degrees, and designed the Wexner Center to alternate which grids it followed. The result was a building of sometimes questionable functionality, but admitted architectural interest.[citation needed]

Included in the Wexner Center space are a film and video theater, a performance space, a film and video post production studio, a bookstore, café, and 12,000 square feet (1,100 m²) of galleries.

In November 2005, the Wexner Center reopened after a three-year renovation. The renovation originally enlisted the help of a local firm, then switched to Arup. In addition to the building envelope, the scope of renovation includes HVAC, lighting, electrical, plumbing, fire protection systems. The renovation works had a minimum impact on the original architectural design while improving environmental, daylight and climate control.

With the restoration of the center as a whole, the bookstore, film and video theater, and café sections were all revamped, equipment and layout-wise.

IT HAS: PREFORMING CENTRE,FLIM/VIDEO THEATRE,EXHIBITIONS.

Daniel Libeskind Daniel Libeskind, (born May 12, 1946) is an American architect, artist, and set designer of Polish-Jewish descent. Libeskind founded Studio Daniel Libeskind in 1989 with his wife, Nina, and is its principal design architect.[1] His buildings include the Jewish Museum in Berlin, Germany, the extension to the Denver Art Museum in the United States, the Grand Canal Theatre in Dublin, the Imperial War Museum North in Greater Manchester, England, theMichael Lee-Chin Crystal at the Royal Ontario Museum in Toronto, Canada, the Felix Nussbaum Haus in Osnabrück, Germany, the Danish Jewish Museumin Copenhagen, Denmark, and the Wohl Centre at the Bar-Ilan University in Ramat-Gan, Israel.[2] His portfolio also includes several residential projects. Libeskind's work has been exhibited in major museums and galleries around the world, including the Museum of Modern Art, the Bauhaus Archives, the Art Institute of Chicago, and the Centre Pompidou.[3] On February 27, 2003, Libeskind won the competition to be the master plan architect for the reconstruction of the World Trade Center site in Lower Manhattan. Libeskind has also designed cultural and commercial institutions, museums, concert halls, convention centers, universities, residences, hotels, and shopping centers. Critics often describe Libeskind's work as deconstructivist.

Work

Completed

1989–1999 Jewish Museum Berlin - Berlin, Germany 1997–2001 Imperial War Museum North - Greater Manchester, England 1998–2008 Contemporary Jewish Museum - San Francisco, California, United States 2001–2003 Danish Jewish Museum - Copenhagen, Denmark 2001–2004 London Metropolitan University Graduate Centre - London, England 2001–2005 The Wohl Centre - Bar-Ilan University, Ramat-Gan, Israel

2004–2007 Glass Courtyard addition to the Jewish Museum Berlin - Berlin, Germany

Under construction 2003–2012 One World Trade Center - New York City, New York

2005–2011 L Tower and Sony Centre for the Performing Arts Redevelopment - Toronto, Canada 2006–2011 Reflections at Keppel Bay, high-rise and low-rise villa apartment blocks - Keppel Bay, Singapore 2009–2014 Kö-Bogen, Königsallee, Düsseldorf, Germany Unbuilt

'The Spiral' extension to the Victoria and Albert Museum, London, was canceled following its failure to attract funding from the Heritage Lottery Fund

Imperial War Museum North Imperial War Museum North (sometimes referred to as IWM North) is a museum at in the Metropolitan Borough of Trafford in Greater Manchester, England. One of five branches of the Imperial War Museum, it explores the impact of modern conflicts on people and society. It is the first branch of the Imperial War Museum to be located in the north of England.

Planning and construction

An architectural competition for the new museum was held in 1997, with the winning design being that of Berlin-based architect Daniel Libeskind. Born in Łódź, Poland, in 1946, Libeskind's family had suffered during the Second World War and dozens of his relatives had died in the Holocaust. At the museum's opening, Libeskind said that he sought to "create a building ... which emotionally moved the soul of the visitor toward a sometimes unexpected realization"'.

ITS HAS THE FOLLOWINGS:

Exhibitions

Permanent exhibitions are housed in the museum's first floor main gallery space within the earth shard. These consist of a chronological display which runs around the gallery's 200 metres (660 ft) perimeter and six thematic displays in "silos" within the space. As part of the earth shard, the 3,500-square-metre (38,000 sq ft) floor of the gallery is curved, gradually dropping away like the curvature of the Earth from a nominal "North Pole" near the gallery's entrance.

Reception

The museum enjoyed a successful first year, with an initial target of 300,000 visitors surpassed after six months,[30] with over 100,000 visitors in the first six weeks;[31] by the museum's first anniversary on 5 July 2003 some 470,000 visitors had been received.[32] The museum won the Building Award in the 2003British Construction Industry Awards,

Royal Ontario Museum The Royal Ontario Museum (ROM) is Canada's largest museum of world culture and natural history located in Toronto, Ontario.[1] It is one of the largest museums in North America, welcoming over a million visitors every year.[2] The museum is located north of Queen's Park in the University of Toronto, with its main entrance facing Bloor Street. With more than six million items and forty galleries, the museum's diverse collections of world culture and natural history are part of the reason for its international reputation.

Buildings and architecture

Designed by Toronto architects Frank Darling and John A. Pearson,[25] the architectural style of the original building is Italianate Neo-Romanesque, popular throughout North America until the 1870s. The structure is heavily massed and punctuated by rounded and segmented arched windows with heavy surrounds and hood mouldings.

Curatorial centre Designed by Toronto architect Gene Kinoshita, with Mathers & Haldenby, the curatorial centre forms the southern section of the museum. Completed in 1984, it was built during the same expansion as the former Queen Elizabeth II Terrace Galleries which stood on north side of the museum. The architecture is a simple modernist style of poured concrete, glass, and pre-cast concrete and aggregate panels.

The Crystal

The new main entrance to the Royal Ontario Museum, Daniel Libeskind's The Crystal, first opened in 2007.[32] The Deconstructivist crystalline-form is clad in 25 percent glass and 75 percent aluminium sitting on top of a steel frame. The Crystal's canted walls do not touch the sides of the existing heritage buildings, used to close the envelope between the new form and existing walls. These walls act as a pathway for pedestrians to safely travel across "The Crystal".

Galleries

Natural history galleries:The Natural history galleries are all gathered on the second floor of the museum. The gallery contains collections and samples of various animals such as bats, birds, and dinosaur bones and skeletons. World culture galleries:The World Culture galleries display a wide variety of objects from around the world. These range from Stone Age implements from China and Africa to 20th-century artand design. Hands-on Galleries Forthcoming galleries & exhibitions Institute for Contemporary Culture gallery: Located on Level 4 of the Lee-Chin Crystal, the Roloff Beny Gallery of the Institute for Contemporary Culture (ICC) hosts the Royal Ontario Museum's contemporary art exhibitions.[75] This high-ceilinged multimedia gallery of approximately 6,000 sq ft (600 m2) serves as the ICC's main exhibition space and the ROM's window on contemporary society, connecting the ROM's vast natural history and world cultures collection to contemporary art and events.

Zaha Hadid Hadid was born in 1950 in Baghdad, Iraq. She received a degree in mathematics from the American University of Beirut before moving to study at theArchitectural Association School of Architecture in London. After graduating she worked with her former teachers, Rem Koolhaas and Elia Zenghelis at the Office for Metropolitan Architecture, becoming a partner in 1977. It was with Koolhaas that she met the engineer Peter Rice who gave her support and encouragement early on, at a time when her work seemed difficult to build. In 1980 she established her own London-based practice. During the 1980s she also taught at the Architectural Association. She has also taught at prestigious institutions around the world; she held the Kenzo Tange Chair at the Graduate School of Design, Harvard University, the Sullivan Chair at theUniversity of Illinois at Chicago School of Architecture, guest professorships at the Hochschule für bildende Künste Hamburg, the Knowlton School of Architecture, at The Ohio State University, the Masters Studio at Columbia University, New York and the Eero Saarinen Visiting Professor of Architectural Design at the Yale School of Architecture in New Haven, Connecticut. In addition, she was made Honorary Member of the American Academy of Arts and Letters and an Honorary Fellow of the

American Institute of Architects.[1] She has been on the Board of Trustees of The Architecture Foundation. She is currently Professor at the University of Applied Arts Vienna in Austria.

Architectural work

Vitra Fire Station (1994), Weil am Rhein, Germany Hoenheim-North Terminus & Car Park (2001), Hoenheim, France Bergisel Ski Jump (2002), Innsbruck, Austria Rosenthal Center for Contemporary Art (2003), Cincinnati, Ohio 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 Tondonia Winery Pavilion (2001–2006),[10] Haro, Spain Eleftheria Square redesign (2007), Nicosia, Cyprus Hungerburgbahn new stations (2007), Innsbruck, Austria Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York, London, Paris, Moscow, (2006–2008) Bridge Pavilion (2008), Zaragoza, Spain J. S. Bach Pavilion, Manchester International Festival (2009), Manchester, UK CMA CGM Tower (2010), Marseille, France Pierres Vives (2002–2012), Montpellier, France, project architect:Stephane Hof MAXXI - National Museum of the 21st Century Arts (1998–2010), Rome, Italy.[11] Stirling Prize 2010 winner. Guangzhou Opera House (2010), Guangzhou, People's Republic of China. London Aquatics Centre (2011), 2012 Summer Olympics, London, UK. Riverside Museum (2007–2011) development of Glasgow Transport Museum, Scotland Evelyn Grace Academy (2006–2010) in Brixton, London, UK

Bergisel The Bergisel is a hill (746 m) that lies to the south of Innsbruck, Austria, in the area of Wilten, where the Sill river meets the Inn Valley.

The world's first syllable Berg- doesn't correspond etymologically to the German word Berg with the meaning mountain. The Bergisel's contemporary name is derived from the pre-Roman word burgusinus (elevated position), which then altered through folk etymology, causing the occasional spelling Berg Isel or its English equivalent Mount Isel.[1]

Among its earlier uses were as a cremation site and as a habitation area during the Ice Age.

BMW Central Building Concept

The BMW factory plan, prior to the design and build of the central building, existed as three disconnected buildings, all of which holding an integral part in the production of the BMW 3 Series vehicles. These three production buildings were designed in house by BMW's real estate and facility management group separately housing the fabrication of raw auto

bodies (645,000 square feet (59,900 m2)), the paint shop (270,000 square feet (25,000 m2)), and the final assembly hall(1,075,000 square feet (99,900 m2))[3]. The competition was for the design a centralized building to function as the physical connection of these three buildings. It also needed to house the administrative and employee needs spaces. Hadid's design took this idea of connectivity and used to inform every aspect of the building. The building serves as a connection for the assembly process steps and the employees. Designed as a series of overlapping and interconnecting levels and spaces where, the informing idea was to blur all separation between any one part of the complex and another and create a level ground for both the blue and white collar employees, the visitors, and the cars.

The Building

From a pool of 25 international architects [4], the BMW jury chose the very innovative design of Zaha Hadid for the final piece of the BMW plant in Leipzig Germany.

The BMW Central building is a 270,000 square feet (25,000 m2) foot facility that makes up only 250,000 square feet (23,000 m2)of the 540-acre (2.2 km2) campus[6]. Serving 5,500 employees, the building functions as the most important piece of the factory as it connects the three production sheds. Each day, 650 BMW 3 Series sedans[7]pass through the Central Building on an elevated conveyor as they move from one of the three production sheds to the next. Dim blue LED lights up light the vehicles as they become more and more complete each time they exit one of the sheds. These conveyors not only take the vehicles from one production shed to another, but do so directly through all of the functional spaces of the Central Building. The offices, meeting rooms, and public relations facilities[8] are all inhabited by these elevated conveyors, which creates an interesting relationship between the employees, the cars and the public. Not only is the Central Building an office building and public relations epicenter for the factory, it is also a very important piece of the production process at the factory. All of the load-bearing walls, floors, and office levels are of cast-in-place concrete while the roof structure is of a structural steel beam and space frame construction[9]. The facade is clad in the simple materials of corregated metal, channel glass, and glass curtain walls

London Aquatics Centre Design It was designed by Pritzker Prize winning architect Zaha Hadid in 2004 before London won the bid. The centre is located in the Olympic Park atStratford in east London. It has been built alongside the Water Polo Arena, and opposite the Olympic Stadium on the opposite bank of theWaterworks River. With its distinctive architecture and curved roof, it will be the first venue visitors see upon entering the Olympic Park. The Project Architect was Jim Heverin. The site is 45 metres high, 160 metres long, and 80 metres wide.

Construction The Aquatics Centre contract was awarded to Balfour Beatty in April 2008.[8] At the same time it was reported that the centre would cost about three times as much as was originally estimated, totalling about £242m. The cost increases were attributed to construction inflation and VAT increases, and also included the estimated cost of converting the facility for public use after the Olympics and Paralympics.[9] The roof is stated to be 11,200 square feet (1,040 m2), a reduction from the previously stated 35,000 square feet (3,300 m2).

Despite the cost increases, the centre should stay within the total construction budget for the event, which is an estimated £6.09bn.[9]

Construction started in July 2008 and was completed in July 2011. The six-board dive tower is made from 462 tonnes of concrete. The steel roof weighs 3,200 tonnes. The three pools hold around 10 million litres of water. The centre will be used for the Olympic event of swimming, diving, and synchronised swimming, and for the Paralympic event of swimming.

Capacity During the Games the venue will have a capacity of 17,500. The two temporary 'wings' will be removed post-games reducing the capacity to a regular 2,500, with an additional 1000 seats available for major events.

Richard Meier Richard Meier (born October 12, 1934) is an American architect, whose rationalist buildings make prominent use of the color white.

Works

Smith House, Darien, Connecticut, 1965–1967 Douglas House, Harbor Springs, Michigan, 1973 [1] Bronx Developmental Center, The Bronx, New York, 1976 The Atheneum, New Harmony, Indiana, 1979 High Museum of Art, Atlanta, Georgia, 1983 Modern Art Wing Des Moines Art Center, Des Moines, Iowa, 1984 City Tower, Prague, Czech Republic, 2004–2007 Arp Museum, Remagen-Rolandseck, Germany 2008 [6] San Jose City Hall, San Jose, California, 2004–2007 University of Scranton, Connolly Hall, 2007 Weill Hall, Ithaca, New York, 2008 Meier Tower, Tel Aviv, Israel (2008–present)

New Harmony's Atheneum is the visitor center for New Harmony, Indiana. It is named for the Greek Athenaion, which was a temple dedicated toAthena in ancient Greece.[1] Funded by the Indianapolis Lilly Endowment in 1976, with the help of the Krannert Charitable Trust, it was opened on October 10, 1979.

The architect was Richard Meier, whose other works include the Getty Center in Los Angeles, California. When it opened in 1979 it won theProgressive Architecture Award, and in 1982 won the American Institute of Architects (AIA) Honor Award. In

2008 it won the AIA's prestigiousTwenty-five Year Award, which is given to no more than one building per year. Architect Peter Eisenmann nominated the Atheneum for this award because it was "a wonderfully pure example of the recurring themes among (Meier's) substantial oeuvre; it is a classic 'Meier' design."

The Atheneum is designed so that visitors have to go a specific way through the building, leading out into New Harmony itself. The three-story building's ramp and overlaying grids provide frequent views of the town and countryside.

As a visitor's center for New Harmony, it includes a 17-minute movie on the history of New Harmony, called "The New Harmony Experience", in its 200-seat auditorium. There are four galleries. The first hosts a gift shop and a 1/32 scale copy of the Harmonist Brick Church. The second galleries discusses the various individuals in New Harmony's history. The third gallery has a 1 inch = 10 feet (1:120) scale of New Harmony in 1824, made during the filming of the movie. The fourth is closed to the public and has furniture designed by Richard Meier himself.[1]

Tours of Historic New Harmony, a collection of buildings of historical significance administered by the Indiana State Historic Site system, begins at the Atheneum.

Getty Center The Getty Center, in Brentwood, Los Angeles, California, is a campus for the J. Paul Getty Trust founded by oilman J. Paul Getty. The $1.3 billion center, which opened on December 16, 1997,[2] is also well known for its architecture, gardens, and views overlooking Los Angeles. The center sits atop a hill connected to a visitors' parking garage at the bottom of the hill by a three-car, cable-pulled tram.

Location and history

Originally, the Getty Museum started in J. Paul Getty's house located in Pacific Palisades in 1954. He expanded the house with a museum wing. In the 1970s, Getty built a replica of an Italian villa on his home's property to better house his collection, which opened in 1974. After Getty's death in 1976, the entire property was turned over to the Getty Trust for museum purposes.

Architecture

Meier has exploited the two naturally-occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the galleries and along the other axis lie the administrative buildings. Meier emphasized the two competing grids by constructing strong view lines through the campus. The main north-south axis starts with the helipad, then includes a narrow walkway between the auditorium and north buildings, continues past the elevator kiosk to the tram station, through the rotunda, past the walls and support columns of the exhibitions pavilion, and finally the ramp besides the west pavilion and the central garden. Its corresponding east-west visual axis starts with the edge of the scholar's wing of the Getty Research Institute (GRI), the walkway between the central garden and the GRI, the overlook to the azalea pool in the central garden, the walkway between the central garden and the west pavilion, and finally the north wall of the west pavilion and the courtyard between the south and east pavilions. he primary grid structure is a 30-inch (760 mm) square; most wall and floor elements are 30-inch (760 mm) squares or some derivative thereof. The buildings at the Getty Center are made fromconcrete and steel with either travertine or aluminium cladding.[21] Around 1,200,000 square feet (110,000 m2) of travertine was used to build the center.

Arrival court and central rotunda

Visitors typically arrive at a tram station in the arrival plaza located between the administrative buildings and the museum entrance. A large set of steps leads to the main doors of the rotunda building. The rotunda building houses information desks, two orientation theatres and museum shops. It also holds a grand staircase that starts a path toward the paintings located on the second floor of each art pavilion. The rotunda opens to the south to a terrace that links all five of the museum pavilions. A separate building to the west of the arrival plaza and stairs holds a cafeteria and restaurant.

Museum

The museum building consists of a three-level base building that is closed to the public and provides staff workspace and storage areas. Five public, two-story towers on the base are called the North, East, South, West and the Exhibitions Pavilions. The Exhibitions Pavilion acts as the temporary residence for traveling art collections and the Foundation's artwork for which the permanent pavilions have no room. Sculpture is also on display at various points outside the buildings, including on various terraces and balconies. The lower level (the highest of the floors in the base) includes a public cafeteria, the terrace cafe, and the photography galleries.

Central Garden

The 134,000-square-foot (12,400 m2) Central Garden at the Getty Center is the work of artist Robert Irwin.[33] Planning for the garden began in 1992, construction started in 1996, and the garden was completed in December 1997.[34]

Irwin was quoted as saying that the Central Garden "is a sculpture in the form of a garden, which aims to be art."[35] Water plays a major role in the garden. A fountain near the restaurant flows toward the garden and appears to fall into a grotto on the north garden wall.

Getty Research Institute (GRI)

The Getty Research Institute (GRI) is "dedicated to furthering knowledge and advancing understanding of the visual arts."[37] Among other holdings, GRI's research library contains over 900,000 volumes of books, periodicals, and auction catalogs; special collections; and two million photographs of art and architecture.[38] GRI's other activities include exhibitions, publications, and a residential scholars program. GRI has one art gallery on its entrance level that is open to the public.

Other offices

Meier also designed three other buildings located next to the north promontory and offset at a 22.5 degree angle from the main axis of the museum pavilions. The north-most building is an auditorium. Next to it is the North Building, with the East Building sitting between the North Building and the rotunda. The main entrance to the East Building is flanked by two round silos that hold its elevators. A bridge over a sunken courtyard links the main entrance of the East Building to the main walkway that connects the auditorium and North Buildings to the rotunda.

Rem Koolhaas emment Lucas Koolhaas (born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and "Professor in Practice of Architecture and Urban Design" at the Graduate School of Design at Harvard University, USA. Koolhaas studied at the Netherlands Film and Television Academy in Amsterdam, at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO, currently based in Rotterdam, Netherlands. In 2005 he co-founded Volume Magazine together with Mark Wigley

Theoretical position

Delirious New York S,M,L,XL Project on the city AMO Volume Magazine Architecture, fashion, and theatre Selected projects

Lille Grand Palais (Lille, 1988) Netherlands Dance Theater (The Hague, 1988) Villa dall’Ava (Saint-Cloud, 1991) Second Stage Theatre (New York City, 1999) Guggenheim Hermitage Museum (Las Vegas, 1980, 2002?) McCormick Tribune Campus Center, IIT (Chicago, 1997–2003) Netherlands Embassy Berlin (2003) Retail design for Prada stores (New York: 2003, Los Angeles: 2004) Seattle Central Library (Seattle, 2004) The Children’s Centre, Leeum, Samsung Museum of Art (Seoul, 2004)[21] Casa da Música (Porto, 2001–2005) Milstein Hall, (Cornell, 2006–2009) [2] CCTV HQ (Beijing, 2004–2009)

Casa da Música Casa da Música (English: House of Music) is a major concert hall space in Porto, Portugal which houses the cultural institution of the same name with its three orchestras Orquestra Nacional do Porto, Orquestra Barroca and Remix Ensemble. It was designed by the Dutch architect Rem Koolhaas with Office for Metropolitan Architecture Performance and other facilities

Casa da Música has two main auditoriums, though many other areas of the building can very easily be adapted for concerts and other musical activity (workshops, educational activities, etc.).

The large auditorium has an initial capacity of 1,238 people, but can vary according to the occasion. The small auditorium is tremendously flexible, and has no definite number in relation to the capacity. On average the room has capacity for 300 people sitting down, and 650 people standing, though these can drastically change depending on the size of the stage, its location, the arrangement of the chairs, the presence and size of sound and recording equipment, etc. The restaurant at the top of the building was opened far later than was originally planned. Functioning since August 2006, the restaurant's original planned capacity for 250 people was decreased to space for some 150.

Seattle Central Library he Seattle Public Library's Central Library is the flagship library of The Seattle Public Library system. The 11-story (185 feet or 56 meters high) glass andsteel building in downtown Seattle, Washington was opened to the public on Sunday, May 23, 2004. Rem Koolhaas and Joshua Prince-Ramus of OMA/LMN were the principal architects and Hoffman Construction Company of Portland, Oregon, was the general contractor. The 362,987 square foot (34,000 m²) public library can hold about 1.45 million books and other materials, features underground public parking for 143 vehicles, and includes over 400 computers open to the public. Over 2 million individuals visited the new library in its first year.

.

Norman Foster Norman Robert Foster, Baron Foster of Thames Bank, OM Kt. (born 1 June 1935) is a British architect whose company maintains an international design practice, Foster + Partners. Foster gained an internship at a local architect's office before submitting a portfolio and winning a place at the University of Manchester School of Architecture. He subsequently won a scholarship to study at the Yale School of Architecture in the United States of America.

Selected projects

Florence TAV Station, Florence, Italy (2003–2010) York University subway station- Toronto, Canada (Opening 2015) Palmer Tompkinson Building, Longslade 2012 South Beach, Singapore, Singapore, 2012

Masdar City, Abu Dhabi (2007–2023)

Crystal Island, Moscow, Russia

Future Apple Campus in Cupertino, California.

1992–1998, Hong Kong International Airport, Chek Lap Kok, Hong Kong

2002–2007, Wembley Stadium, London, United Kingdom

2005, Supreme Court Building, Singapore

30 St Mary Axe 30 St Mary Axe (formerly the Swiss Re Building, informally referred to as the Gherkin) is a skyscraper in London's financial district, the City of London, completed in December 2003 and opened at the end of May 2004.[2] With 40 floors, the tower is 180 metres (591 ft) tall,[1] and stands on the former site of the Baltic Exchange building,

Design and construction

The building was constructed by Skanska, completed in December 2003 and opened on 28 April 2004.[2] The primary occupant of the building is Swiss Re, a global reinsurance company, who had the building commissioned as the head office for their UK operation. The tower is sometimes known as "Swiss Re Tower", although this name is not official. Architects limit double glazing in residential houses to avoid the inefficient convection of heat, but the tower exploits this effect. The shafts pull warm air out of the building during the summer and warm the building in the winter using passive solar heating. The shafts also allow sunlight to pass through the building, making the work environment more pleasing, and keeping the lighting costs down. On the building's top level (the 40th floor), there is a bar for tenants and their guests featuring a 360° view of London. A restaurant operates on the 39th floor, and private dining rooms on the 38th.[18] Whereas most buildings have extensive lift equipment on the roof of the building.

Torre Caja Madrid The Torre Caja Madrid (Spanish: Madrid Savings Bank Tower) is a skyscraper located in the Cuatro Torres Business Area in Madrid, Spain. With a height of 250 m (820 ft) and 45 floors, it is the tallest of the four buildings in the Cuatro Torres Business Area complex, surpassing Torre de Cristal by less than a metre, and the tallest building in Spain.

Designed by Lord Foster, it was first known as Torre Repsol and would have served as headquarters for Repsol YPF oil and gas company. During the construction of the tower, Repsol decided to change the location of its future headquarters and the financial institution Caja Madrid purchased the building for €815 million in August 2007.

It was built by a joint venture of Dragados and Fomento de Construcciones y Contratas.

Crystal Island Crystal Island is a proposed building project in Moscow, Russia that is currently planned to have around 2,500,000 square metres (27,000,000 square feet) of floor space and a height of 450 metres (1,476 ft) designed by Norman Foster.[1] At these dimensions upon completion it would be the largest structure (in floor space) on earth. The architectural firm behind the design is Foster and Partners.

The tent-like superstructure would rise to 450m, and form a breathable "second skin" and thermal buffer for the main building, shielding the interior spaces from Moscow’s weather. This second skin will be sealed in winter to minimise

heat loss, and opened in the summer to naturally cool the interior. The building would be integrated into a new park, which would provide a range of activities throughout the year, with cross country skiing and ice skating in the winter.[2]

It is stated to have a multitude of cultural, exhibition, performance, hotel, apartment, retail and office space, as well as an international school for 500 students.[2]

The building would be powered by built-in solar panels and wind turbines.[3] The site would also feature on-site renewable and low-carbon energy generation.[2]

As of 2009, construction has been postponed due to the global economic crisis.

César Pelli César Pelli (born October 12, 1926) is an Argentine American architect known for designing some of the world's tallest buildings and other major urban landmarks. In 1991, the American Institute of Architects (AIA) listed Pelli among the ten most influential living American architects. His many awards include the 1995 AIA Gold Medal which recognizes a body of work of lasting influence on the theory and practice of architecture. Perhaps his most famous work are the Petronas Twin Towers, which were for a time the world's tallest buildings. He also designed the World Financial Center complex in downtownManhattan, next to the since-fallen World Trade Center.

Petronas Towers The Petronas Towers (Malay: Menara Petronas, also known as the Petronas Twin Towers or Menara Berkembar Petronas in Malay) are twinskyscrapers in Kuala Lumpur, Malaysia. According to the CTBUH's official definition and ranking, they were the tallest buildings in the world from 1998 to 2004 until surpassed by Taipei 101, but remain the tallest twin buildings ever built, surpassing the World Trade Center.[5] The building is the landmark of Kuala Lumpur with nearby Kuala Lumpur Tower.

The 88-floor towers are constructed largely of reinforced concrete, with a steel and glass facade designed to resemble motifs found inIslamic art, a reflection of Malaysia's Muslim religion.[15] Another Islamic influence on the design is that the cross section of the towers is based on a Rub el Hizb, albeit with circular sectors added to meet office space requirements.[16]

Tower 1, the west tower (right in the top-right photograph) was built by a Japanese consortium led by the Hazama Corporation while Tower 2, the east tower (left in the top-right photograph) was built by Samsung C&T Corporation and Kukdong Engineering & Construction, both South Korean contractors.[citation needed] The sky bridge contract was completed by Kukdong Engineering & Construction. Tower 2 became the first to reach the world's tallest building at the time.[17] However, the builders of Tower 2, Samsung Constructions, ran into problems when they discovered the structure was leaning 25 millimeters off from vertical.

Suria KLCC

Suria KLCC is a 1,500,000 sq ft (140,000 m2) upmarket retail podium at the feet of the Petronas Towers. It features mostly foreign luxury goods and high-street labels. Its attractions include an art gallery, a philharmonic theater, an underwater aquarium and also a Science centre. Suria KLCC is one of the largest shopping malls in Malaysia. KLCC park

Spanning 17 acres (6.9 ha) below the building is the KLCC park with jogging and walking paths, a fountain with incorporated light show, wading pools, and a children's playground. Skybridge The towers feature a skybridge between the two towers on 41st and 42nd floors, which is the highest 2-story bridge in the world.[27] It is not attached to the main structure, but is instead designed to slide in and out of the towers to prevent it from breaking,[28] as the towers sway several feet[specify] in towards and away from each other during high winds. It also provides some structural support to the towers in these occasions. The bridge is 170 m (558 ft) above the ground and 58 m (190 ft) long, weighing 750 tons.[29] The same floor is also known as the podium, since visitors desiring to go to higher levels have to change elevators here.

Lift system The main bank of Otis Lifts is located in the centre of each tower. All main lifts are double-decker with the lower deck of the lift taking passengers to odd numbered floors and upper deck to even numbered floors. To reach an even-numbered floor from ground level, passengers must take an escalator to the upper deck of the lift.

Service building The service building is to the east of the Petronas Towers and contains the services required to keep the building operational, such as dissipating the heat from the air-conditioning system for all 88 levels in both towers.

Height

Antenna spire 451.9 m (1,483 ft)

Roof 378.6 m (1,242 ft)

Top floor 375 m (1,230 ft)

Technical details

Floor count 88

Floor area 395,000 m2 (4,252,000 sq ft)

Elevators 78

World Trade Center The original World Trade Center was a complex with seven buildings featuring landmark twin towers in Lower Manhattan, New York City, United States. The complex opened on April 4, 1973, and was destroyed in 2001 during the September 11 attacks. The site is being rebuilt with five new skyscrapers and a memorial to the casualties of the attacks. At the time of their completion, the original 1 World Trade Center (the North Tower) and 2 World Trade Center (the South Tower), known collectively as the Twin Towers, were the tallest buildings in the world. The other buildings included 3 WTC (the Marriott World Trade Center), 4 WTC, 5 WTC, 6 WTC (which housed United States Customs), and 7 WTC. All of these buildings were built between 1975 and 1985. The complex was located in the heart of New York City's downtown financial district and contained 13.4 million square feet (1.24 million m2) of office space. The Windows on the World restaurant was located on the 106th and 107th floors of 1 World Trade Center (the North Tower) while the Top of the Worldobservation deck was located on the 107th floor of 2 World Trade Center (the South Tower).

North and South towers ith the construction of 7 World Trade Center in the 1980s, the World Trade Center had a total of seven buildings, but the most notable were the main two towers. Each stood over 1,350 feet (410 m) high, and occupied about one acre (43,560 square feet) of the total 16 acres (65,000 m2) of the site's land. During a press conference in 1973, Yamasaki was asked, "Why two 110-story buildings? Why not one 220-story building?" His response was: "I didn't want to lose the human scale."[66]

When completed in 1972, 1 World Trade Center (the North Tower) became the tallest building in the world for two years, surpassing the Empire State Building after a 40-

year reign. The North Tower stood 1,368 feet (417 m) tall and featured a telecommunications antenna or mast that was added at the top of the roof in 1978 and stood 360 feet (110 m) tall. With the 360-foot (110 m)-tall antenna/mast, the highest point of the North Tower reached 1,728 ft (527 m). 2 World

Trade Center (the South Tower) became the second tallest building in the world when completed in 1973. The South Tower's rooftop observation deck was 1,362 ft (415 m) high and its indoor observation deck was 1,310 ft (400 m) high.[67] The World Trade Center towers held the height record only briefly: Chicago's Sears Tower, finished in May 1973, reached 1,450 feet (440 m) at the rooftop.[68] Throughout their existence, however, the WTC towers had more floors (at 110) than any other building.

Of the 110 stories, eight were set aside for technical services in mechanical floors Level B5/B6 (floors 7/8, 41/42, 75/76, and 108/109), which are four two-floor areas that evenly spaced up the building. All the remaining floors were free for open-plan offices. Each floor of the towers had 40,000 square feet (3,700 m2) of space for occupancy.[23] Each tower had 3,800,000 square feet (350,000 m2) of office space. Altogether the entire complex of seven buildings had 11,200,000 square feet (1,040,000 m2) of space.

Height

Antenna spire 1 WTC: 1,727 ft (526.3 m)

Roof 1 WTC: 1,368 ft (417.0 m)

2 WTC: 1,362 ft (415.0 m)

3 WTC: 242 ft (74.0 m)

4 & 5 WTC: 118 ft (36.0 m)

6 WTC: 105 ft (32.0 m)

7 WTC: 610 ft (186.0 m)

Top floor 1 WTC: 1,347 ft (411.0 m)

2 WTC: 1,341 ft (409.0 m)

Technical details

Floor count 1 & 2 WTC: 110 floors

3 WTC: 22 floors

4 & 5 WTC: 9 floors

6 WTC: 8 floors

7 WTC: 47 floors

Floor area 1 & 2 WTC:4,300,000 sq ft (400,000 m2)

4, 5, & 6 WTC: 500,000 sq ft (50,000 m2)

7 WTC: 1,868,000 sq ft (170,000 m2)

Elevators Both had 99 elevators

POP architecture is a type of architecture in which buildings and other structures are given unusual shapes as a novelty, such as advertising, notoriety as a landmark, or simple eccentricity of the owner or architect. Many examples of novelty architecture take the form of buildings that resemble the products sold inside to attract drive-by customers. Others are attractions all by themselves, such as giant animals, fruits, and vegetables, or replicasof famous buildings. And others are merely unusual shapes or made of unusual building materials.

Some hotel casinos on the Las Vegas Strip can be considered novelty architecture, including the pyramid-shaped Luxor Hotel and the New York-New York Hotel & Casino, a building designed to look like the New York City skyline.

Novelty architecture is also used extensively in amusement parks such as Disneyland to fit their playful and sometimes retro theme.

Programmatic (also known as mimetic or mimic) architecture is characterized by constructions in the forms of objects not normally associated with buildings, such as characters, animals, people or household objects. There may be an element of caricature or a cartoonish element associated with the architecture.

Lucy the Elephant, an architectural folly in Margate City, New Jersey The Longaberger Company's head office in Newark, Ohio which is in the form of a giant basket

In the 1930s, as automobile travel became popular in the United States, one way of attracting motorists to a diner, coffee shop, or roadside attraction was to build the building in an unusual shape, especially the shape of the things sold there. "Mimic" architecture became a trend, and many roadside coffee shops were built in the shape of giant coffee pots; hot dog stands were built in the shape of giant hot dogs; and fruit stands were built in the shape of oranges or other fruit.

Tail o' the Pup, a hot dog-shaped hot dog stand in Los Angeles Brown Derby, a derby-shaped restaurant also in Los Angeles Bondurant's Pharmacy, a mortar-and-pestle pharmacy in Lexington, Kentucky Water towers Water towers, often a prominent feature in a small town, have often been shaped or decorated to look like everyday objects.

Peachoid, a peach-shaped water tower in Gaffney, South Carolina. There are other peach-shaped water towers in Byron, Georgia and Clanton, Alabama

Coffee pot water tower in Lindstrom, Minnesota (see Gallery) Corn cob water tower in Rochester, Minnesota (see Gallery) Brooks Catsup Bottle Water Tower in Collinsville, Illinois (see Gallery) Paul Bunyan's Fishing Bobber water tower in Pequot Lakes, Minnesota (see Gallery) Coffee pot water tower in Stanton, Iowa Strawberry water tower in Poteet, Texas Teapot water tower in Kingsburg, California Wine bottle water tower in Rutherglen, Victoria (built in 1900, now dilapidated)

TEAPOT DOME SERVICE STATION:washington in 1992 The Big Duck in Flanders, New York, built in 1931

The Longaberger Company headquarters inNewark, Ohio