DECONSTRUCTIVISM AND CRITICAL REGIONALISM

Submitted By-Abhiniti Garg

Anurag KamalManisha Jain

Navdha Kabra

DECONSTRUCTIVISM• It is a development in POST-MODERNISM that started in late 1980s.• It views architecture in bits and pieces.• It has no visual logic.• Buildings may appear to be made of abstract forms.• The idea was to develop buildings which show how differently from

traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics.

• The ideas were borrowed from the French philosopher, Jacques Derrida.• Architects involved –

– Zaha Hadid– Bernhard Tschumi– Rem Koolhaas

GENERAL CHARACTERISTICS OF DECONSTRUCTIVISM

• Explodes architectural form into loose collections of related fragments.• Destroys the dominance of the right angle and the cube by using the diagonal

line.• Uses ideas and images from Russian Revolutionary architecture and design.• Provokes shock, uncertainty, unease, disquiet, disruption, distortion by

challenging familiar ideas about space, order and regularity in the environment. • Rejects the idea of the `perfect form for a particular activity and rejects the

familiar relationship between certain forms and certain activities.• Two strains of modern art, minimalism and cubism, have had an influence on

deconstructivism.• Analytical cubism also had effect on deconstructivism, as forms and content are

dissected and viewed from different perspectives simultaneously.• It also often shares with minimalism notions of conceptual art.

Zaha Hadid• At the age of eleven in her native Iraq,

Zaha Hadid (b.1950) decided to be an architect.

• “We can’t carry on as cake decorators and do these nostalgic buildings that have an intense degree of cuteness; we have to take on the task of investigating modernity,” Hadid told an interviewer.

• Her style is Deconstructivism (breaking architecture, displacement and distortion, leaving the vertical and the horizontal, using rotations on small, sharp angles, breaks up structures apparent chaos)

• Using light volumes, sharp, angular forms, the play of light and the integration of the buildings with the landscape.

CONCEPT• GRAVITY-DEFYING• FRAGMENTARY• REVOLUTIONARY• A MAIN THEME OF HADIDS DESIGNS EXHIBITS

THAT A BUILDING CAN FLOAT AND DEFY GRAVITY.

Museum of Art, XXI (MAXXI), Rome,Italy

• MAXXI, ROME MAXXI stands for ‘Museo nazionale delle arti del XXI secolo’ (National Museum of 21st Century Art). The museum will become the joint home of the MAXXI Arts and MAXXI Architecture and Italy’s first national museum solely dedicated to contemporary arts.

• MAXXI was also the winner of the RIBA Stirling Prize for the greatest contribution to British architecture in 2010

• The MAXXI’s 27,000 sq m contain – in addition to the two museums – an auditorium, a library and media library, a bookshop, a cafeteria, temporary exhibition spaces, various open spaces for live events, commercial activities, workshops and spaces of study and recreation.

• The building is a composition of bending oblong tubes, overlapping, intersecting and piling over each other, resembling a piece of massive transport infrastructure.

• It acts as a tie between the geometrical elements already present. It is built on the site of old army barracks between the river tiber and via guido reni, the centre is made up of spaces that flow freely and unexpectedly between interior and exterior, where walls twist to become floors or ceilings.

• The building absorbs the landscape structures, dynamizes them and gives them back to the urban environment.

• The two museums – MAXXI Art and MAXXI Architecture – rotate around a large, double storey atrium, the point of connection with the permanent collection galleries and temporary exhibition spaces, the auditorium, reception area, cafeteria and bookshop. Outside, a pedestrian path follows the shape of the building, slipping under its cantilevered volumes and restoring an urban connection interrupted for almost a century by the former military structure.

• In opposition to the decisive architectural sign that dominates the exterior spaces and the atrium, a more sober spatial quality characterises the exhibition halls that host the collections of the two museums. A combination of glass (roof), steel (stairs and columns) and concrete (walls) defines the neutral appearance of the display spaces, while moveable panels ensure the flexibility of their use.

• The fluid and sinuous forms and the variation and interweaving of different levels– assisted by the modulated use of natural light – combine to create a highly complex spatial and functional experience that offers continuously different and unexpected views, from the interior towards the open spaces.

The architecture of MAXXI Two principle architectural elements

characterize the project: • The concrete walls that define the

exhibition galleries and determine the interweaving of volumes; and the transparent roof that modulates natural light.

• The roofing system complies with the highest standards required for museums and is composed of integrated frames and louvers with devices for filtering sunlight, artificial light and environmental control.

• Galleries, Walkway and Materials Located around a large full height space which gives

access to the galleries dedicated to permanent collections and temporary exhibitions, the auditorium, reception services, cafeteria and bookshop. Outside, a pedestrian walkway follows the outline of the building, restoring an urban link that has been blocked for almost a century by the former military barracks in Rome. Materials such as glass (roof), steel (stairs) and cement (walls) give the exhibition spaces a neutral appearance, whilst mobile panels enable curatorial flexibility and variety.

The pedestrian path that crosses the campus follows the soft lines of the museum, slipping under its cantilevered volumes. The interior of the building presents visitors with a glimpse of numerous views and openings that cross the structure: on the one hand protecting its contents between its solid walls, on the other inviting visitors to enter through its large glazed surfaces on the ground floor.

• Sinuous shape The fluid and sinuous shapes, the

variety and interweaving of spaces and the modulated use of natural light lead to a spatial and functional framework of great complexity, offering constantly changing and unexpected views from within the building and outdoor spaces.

• MAXXI casts aside the idea of the “closed” building in favour of a broader dimension that extends the interior spaces into the exterior spaces around the building, open to the entire neighbourhood.

El Phaeno• LOCATION: Wolfsburg, Germany. This being the biggest factory in Europe,

employing more than 50,000 people, is home to some 120,000 inhabitants. And receives an average of a million and a half visitors a year. Located in the city center, in an area between the commercial and office. A pass around high speed trains, to the Mittelland canal bank.

• Science Museum: In seeking to be more than the "city volkswagen" she was

commissioned to launch the idea of creating a museum dedicated to engage children and young people to the world of physics, biology and chemistry, in a didactic way. This offers a different option for visitors, with its traditional theme park Autostadt and the Volkswagen museum. Receiving a 180mil visitors annually.

• Urban Analysis The building appears in the landscape as a connecting element

between the two parts of the city, establishing a direct relationship with the city and move through it. Multiple paths pedestrian and vehicle motion is in the terrain place either inwards or through building composing a displacement interconnection routes.

INDEX1. EXPOSITION2. EMPTY3. PUB4. LABORATORY5. STAIRS6. RAMP AND BRIDGE

INDEX OF LOW LEVEL1. SQUARE2. RAMP3. ENTRY4. PUB5. DEPARTURE6. AUDIENCE7. LOCAL8. EVENT

• Landscape: It appears as a mysterious object that arouses curiosity and

discovery. The terrain passes underneath the volume as an artificial landscape with rolling hills and valleys that stretch around the square. The Center captures the surrounding landscape dynamics in elongated form off the ground, in aventajamientos crashes and walls that give the illusion that the building is moving. The public path leads bridge-like woodworm-hole inside the building, promoting interaction between the inside and outside which enables, as in floor, a fusion of both.

• Spaces: The building allows people to walk and climb down one part of

the pavement to get inside. In other places, the ground floor takes visitors to a public square. Downstairs open broad prospects, exposing the context of the city, between the concrete cones.

• The building does not tread the earth completely. Much stands on a square with a series of large inverted conical shapes with rounded corners that act as legs and give an effect of weightlessness.

• Among them develop various functions as a library, conference rooms and an auditorium for 250 people.

• Techniques and materials: Concrete: The roof structure is steel. Facade: Has only large portions of concrete. Glazed areas: They used large glass shades. Furthermore you can see

skylights, respecting the diamond pattern was made in the concrete. Were used in construction, 27 cubic meters of concrete and more than 3,500 steel beams.

• The "cones” So called piles, appointed by the architect as cones, which are widening

as rise. There are 10 of them and each one is identified by its curvature and tilt. These piles are inhabited with windows, and sliding glass doors.

Temporary tensile structures, Lilas Installations, London, 2003

• The Serpentine Summer Party Installation is designed as an open air space raising 5.5m that consists of three identical tensile fabric structures or parasols arrayed around a central point. Each parasol develops sculpturally from a small articulated base to a large cantilevered diamond shape.

• Taking inspiration from complex natural geometries such as flower petals and leaves, the three parasols overlap to create the pavilion’s main conceptual feature: complex symmetry, interweaving all-the-while without touching, allowing air, light and sound to travel through narrow gaps in a state that is both open and likewise tending toward closure.

• Raised on a low platform located within an open field flanked by a row of trees just South of the Serpentine Gallery, the Serpentine Summer Party Pavilion is free standing and accessible from all sides.

• Accommodating movement throughout the site, the Pavilion is enigmatic. In the day it provides shading, while at night the pavilion undergoes an energetic transformation into a source of illumination. From continuous lighting around each base, light is thrown up the fabric surfaces along very thin seams that radiate about the parasols that act like corseting or the veining of flowers revealing the geometric intricacy of the pavilion and highlighting the overall architectural form in calligraphic arcs.

• SIZE/AREA:Height 5.5 mWidth 22.5 mLength 22.5 mTotal Floor Area 310 m2

Centre for Contemporary Art, CincinnatiCincinnati's Contemporary Arts Center is the first built project in the United StatesIn response to the metropolitan setting of the building, Hadid developed the concept of the "urban carpet", to draw in pedestrian traffic inherent to a downtown area. The "urban carpet" is articulated by a seamless run of concrete that begins outside the building, continues into the mezzanine level and eventually curves upward at the far end of the building behind the stairs.

ZHA Nordpark Cable Railway,Innsbruck, Austria• In the project there are four stations. The

scenic railway, which serves ski stations in the mountains above the city.

• The concepts of “Shell & Shadow” generate each station’s spatial quality.

• A lightweight organic roof structure floats on top of a concrete plinth. The fluid shapes and soft contours give the appearance of glacier movements.

• New production methods like CNC milling and thermoforming allow computer generated designs to be made into buildings structure.

• Parts of the building look like cars, aeroplane wings, yachts. Large cantilevers and small touch down areas give a floating appearance to the shells.

BERNHARD TSCHUMI• Decon follies (like Tschumi’s

pavilions at La Villettein Paris) seek to promote dislocation, not provide cosyshelter. Decon is mostly paper architecture, in which many of designs published in magazines are clearly unbuildable: girders projecting at weird angles into air, beams that pierce space like pins in a voodoo doll, and columns without function seem to violate laws of gravity.

The designs create non-sensual sculptures for an irrational world. “Making things fit doesn’t make sense anymore,” the Swiss-born Tschumi said.

Principles• Form follows fiction.• Theory of timelessness.• Red is not a colour.• Point, Line and Surface theory.

• Technologies of Defamiliarization• The Mediated “Metropolitan” shock• De-structuring• Superimposition• Crossprogramming• Events : The Turning point

Six Concepts

Parc de la Villette, Folies, 1982-97• Over 1 kilometer long in one direction C and 700 meters wide in the other La Villette appears as a multiple programmatic field, containing in addition to the park, the large Museum of Science and Industry, a City of Music, a Grande Hall for exhibitions and a rock concert hall. • The basis of the design is the superimposition of three independent systems, namely: Points Lines Surfaces Superimposition: lines, points, surfaces.

Points• The folies are placed according to a point-grid

coordinate system at 120 meter intervals throughout the park. The form of each is a basic 10 x 10 x 10 meter cube or three-story construction of neutral space that can be transformed and elaborated according to specific programmatic needs. Taken as a whole, the folies provide a common denominator for all of the events generated by the park program.

• The repetition of folies is aimed at developing clear symbol for the park, a recognizable identity.

• Their grid provides a comprehensive image or shape for the otherwise ill-defined terrain.

• Similarly, the regularity of routes and positions makes orientation simple for those unfamiliar with the area. An advantage of the point-grid system is that it provides for the minimum adequate equipment of the urban park relative to the number of its visitors.

Lines• The folie grid is related to a larger

coordinate structure, an orthogonal system of high-density pedestrian movement that marks the site with a cross.

• The North-South passage or Coordinate links the two Paris gates and subway stations of Porte de la Villette and Porte de Pantin, the East- West Coordinate joins Paris to its western suburbs.

• A 5 meter wide, open, waved covered structure runs the length of both Coordinates.

Surfaces• The park surfaces receive all

activities requiring large expanses of horizontal space for play, sports and exercise, mass-entertainment, markets and so forth.

• During summer nights, for example, the central green becomes an open air film theater for 3,000 viewers. The so called left over surfaces where all aspects of the program have been fulfilled, are composed of compacted earth and gravel.

New Acropolis Museum, Athens• A movement concept The visitors route forms a clear three-

dimensional loop, affording an architectural promenade with a rich spatial experience extending from the archaeological excavations to the Parthenon Marbles and back through the Roman period.

• Movement in and through time is a crucial dimension of architecture, and of this museum in particular.

• With over 10,000 visitors daily, the sequence of movements through the museum artifacts is conceived to be of utmost clarity.

• ORGANISATION The Museum is conceived as a base, a

middle zone and a top, taking its form from the archaeological excavation below and from the orientation of the top floor toward the Parthenon.

• Tectonic & programmatic concept The base of the museum design contains

an entrance lobby overlooking the Makriyianni excavations as well as temporary exhibition spaces, lobby, retail, and all support facilities. The base hovers over the excavation on more than 100 slender concrete pillars.

Mid – level Plan

• The middle (which is trapezoidal in plan) is a double-height space that soars to 10 meters (33 feet), accommodating the galleries from the Archaic to the late Roman period.

• A Mezzanine features a bar and restaurant (with a public terrace looking out toward the Acropolis) and multimedia space.

Top level Plan• The top is the rectangular, glass-

enclosed, skylight Parthenon Gallery, over 7 meters high and with a floor space of over 2,050 square meters (22,100 square ft).

• It is shifted 23 degrees from the rest of the building to orient it directly toward the Acropolis.

• The building’s concrete core, which penetrates upward through all levels, becomes the surface on which the marble sculptures of the Parthenon Frieze are mounted. The core allows natural light to pass down to the Caryatids.

REM KOOLHAAS: THE CULTURE OF CONGESTION

• The Dutch architect Rem Koolhaas (b.1944) believes architecture should be a dangerous, risk-taking enterprise. His vision of dynamic between an architect and the megalopolis informs his work.

• Koolhaas’s hallmark is the inventive use of inexpensive industrial materials like plywood and plastic.

• He seeks to preserve the immediacy of improvised sketching in his inventive designs.

• An urbanist and thinker as well as builder, Koolhaas has a hybrid cast of mind that puts subversive kinks into Modernist forms.

Philosophy

• Interpretation of post-modern metabolism• Idea that mega-structures should emerge

organically from the community and culture to meet contemporary needs

Seattle Central Library, Seattle, USA, 2004•The Seattle Central Library redefines the library as an institution no longer exclusively dedicated to the book, but as an information store where all potent forms of media.• Central library for Seattle’s 28-branch library system, including 33,700 sq m of hq, reading room, book spiral, mixing chamber, meeting platform, living room, staff floor, children’s collection, and auditorium, and 4,600 sq m of parking.• Floors - 11+1 basement level• From the outside , you can see a large glass building , straight lines that intersect. It is articulated by large blocks at different levels corresponding to the library premises . • The " spiral " , was a new way of delivering books to customers within a library system . Instead of books on different shelves and floors, the spiral inclined allowed a continuous row of books that make them " easy to navigate " .

Concept• The concept involves the reinvention of the library as an access point to information

presented in a variety of media "The new library does not reinvent or modernize traditional , they are just packaged in a new way ," explain in the OMA study.

• Koolhaas applied its interpretation of the feature set and architecture for the project that the building would be flexible for future expansions.

• Flexibility in contemporary libraries is conceived as the creation of generic floors on which almost any activity can be developed.

• This form of flexibility , the library strangles the very attractions that differentiate it from other information resources .

• Instead of its current ambiguous flexibility , the library could cultivate a more refined approach in organizing spatial compartments, each dedicated to and equipped for specific services.

Paces• Inside the building, a spiral structure provides

a continuous surface with coated side shelves that offer different themed collections. These ramps are supported on slender columns constructed economically .

• The interior is divided into 5 distinguishable blocks from the outside :

1. the parking area 2. public reading area 3. café deployed in the large atrium 4. main library space ,and reading rooms and 5. administration, all them culminates in a

terrace on the roof.• The third floor of the library is called "living

room ".

• The Book Spiral implies a reclamation of the much-compromised Dewey Decimal System. By arranging the collection in a continuous ribbon— running from 000 to 999—the subjects form a coexistence that approaches the organic; each evolves relative to the others, occupying more or less space on the ribbon, but never forcing a rupture.

• The main feature of the interior is its large public spaces and leisure reading , illuminated with natural light coming through the glass walls .

• The building is covered by a striking glass and steel structure .

INNOVATIONS IN ENERGY EFFICIENCY

• The library exceeds Seattle’s energy code by 10 percent.

• The expected energy savings would power at least 125 homes.

• Better shading effect than most tinted glass buildings, without the undesirable darkening.

• Diagonal grid system : protection against earthquake or wind damage

CCTV Headquarters, Beijing• The tower redefines the form of the skyscraper, with the

primary system comprised of a continuous structural tube of columns, beams and braces around the entire skin of the building.

• Rising from a common platform the two towers lean towards each other and eventually merge in a perpendicular, 75-meter cantilever.

• Completion2011Height234 m (768 ft)Stories49Primary UseOffice

Area 473000.0 sqm

• The CCTV Headquarters combines the entire process of TV-making into a loop of interconnected activities. Two structures rise from a common production platform that is partly underground.

• Each has its own character: one is dedicated to broadcasting, the second to services, research and education; they join at the top to create a cantilevered penthouse for the television management.

Interconnected Activities

• The design of the CCTV then aims to reinvent the tall building by creating a truly three-dimensional experience; a canopy that symbolically embraces the entire population, as oppose to a predictable two-dimensional tower that points only skywards.

• The creation of a continuous series of spaces and activities will promote the building as a giant social catalyst – a city in itself – where 10,000 employees will work and thousands of visitors will gain an insight into the functioning of all aspects of a television station.

Circulation Loop

• The diagrid (triangulated steel tubes) provides maximum flexibility for the bespoke planning of the interiors, since bracing is not needed within the floor plates. This allows large studio spaces to be laid out within the towers. It has enabled the Overhang section to be constructed without the need for temporary propping, since the braced skin provided stability as the steelwork was cantilevered out from the towers. This type of structure has a high degree of inherent robustness and redundancy, due to the potential for adopting alternative load paths in the unlikely event a key element’s removal.

• The self-supporting hybrid facade structure features high performance glass panels with a sun shading of 70 percent open ceramic frit, creating the soft silver-grey color that gives the building a surprisingly subtle presence in the Beijing skyline.

A wealthy married couple with three children lived in a very old and beautiful house in Bordeaux in France. For many years this family was thinking about building a new home, planning how it could be and wondering who the architect would be. Suddenly, the husband had a car accident and almost lost his life. Now he needs a wheelchair. The old beautiful house and the medieval city of Bordeaux had now become a prison for him. The family started to think about their new

house again but this time in a very different way.The married couple bought a hill with a panoramic view over the city and approached the Dutch

architect Rem Koolhaas in 1994. The husband explained to him: "Contrary to what you might expect, I do not want a simple house. I want a complicated house because it will determine my

world."

'MAISON À BORDEAUX'

Circulation in the new house.Instead of designing a house on one floor which would ease the movements of the wheelchair, the architect surprised them with an idea of a house on three levels, one on top of each other. The ground floor, half-carved into the hill, accommodates the kitchen and television room, and leads to a courtyard. The bedrooms of the family are on the top floor, built as a dark concrete box. In the middle of these two levels is the living room made of glass where one contemplates the valley of the river Garonne and Bordeaux's clear outline. The wheelchair has access to these levels by an elevator platform that is the size of a room, and is actually a well-equipped office. Because of its vertical movements, the platform becomes part of the kitchen when it is on the ground floor; links with the aluminium floor on the middle level and creates a relaxed working space in the master bedroom on the top floor. In the same way that the wheelchair can be interpreted as an extension of the body, the elevator platform, created by the architect, is an indispensable part of the handicapped client. This offers him more possibilities of mobility than to any other member of the family-only he has access to spaces like the wine cellar or the bookshelves made of polycarbonate which span from the ground floor to the top of the house, and thus respond to the movement of the platform.

Experiencing the house.Koolhaas designed a complex house in itself and surpassed the conventional, in every detail. For example, the top floor rests on three legs. One of these legs, a cylinder that includes the circular staircase of the house, is located off-centre. Although this displacement brings an instability to the house, it gains equilibrium by placing a steel beam over the house which pulls a cable in tension. The first question that the visitor asks is: what happens if the cord is cut? Koolhaas has created a structure which, equal to the life of the client, depends on a cable.

Experiencing the house.This arrangement provides the middle level with an uninterrupted view over the surrounding landscape, and an effect that is intensified with the highly polished finish of the stainless steel cylinder which incorporates the stairs, and makes it disappear into the landscape. The middle level is a balcony where the top floor floats above. It is a glazed space which allows the wheelchair to confuse the nature outside with the interior of the house. In contrast, the same landscape receives another treatment from the top floor. The view appears restricted and predetermined, framed by circular windows placed according to whether one stands, sits or lays down

Experiencing the house.Inside the house the family experiences Koolhaas's interpretations of life's instability and dualities. In regards to the husband, he has experienced this instability and is now part of his own self. In the same way that the umbilical cord belongs both to the mother and the baby, and gives it nutrition; the elevator platform connects the husband to the house and offers him a liberation.

CRITICAL REGIONALISM• The term ‘Critical Regionalism’ was first coined by Alexander Tzonis and Liane Lefaivre

and later more famously and pretentiously by Kenneth Frampton in “Towards a Critical Regionalism : Six points of an architecture of resistance”

• According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual.

• According to Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways.

• Critical regionalism is different from Regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.

• It is considered a particular form of post-modern response in developing countries, not to be confused with postmodernism as architectural style.

• Architects involved are-– Alvar aalto– Raj Rewal– Tadao Ando– Charles Correa– B V Doshi

TADAO ANDO• The idea of stability against the dynamic of

change and volatility against the superficial use of modernism (Metabolism was a movement in the 1960s which proposed a new urbanism based on the city as an organism requiring change and renewal.

• The movement saw technology as an extension to humanity and advocated the use of pre-fabricated plug-in units or capsules, which could be arranged interchangeably on a core mega structure, facilitating the changing needs of the city.) microcosmic interiority and territorial delineation.

• Concept of creating ‘shintai’• Concept of ‘engawa’(Fort Worth Modern Art

Museum)• Ando’s use of long corridors and passageways,

for example, can be traced to the alley-like spaces among townhouses in Japan.

Azuma house, Sumiyoshi, Japan• This territorial articulation is

exemplified by Ando’s Sumiyoshi House (1975 -1976) which boxes itself against its suburban neighbours.

• The walls of the house wrap around the site perimeter.

• All that faces the street is a blank concrete façade with a single door.

• The interior is punctuated by an open court which contains the only connecting path from one room to another, exposing the inhabitants to the natural elements

• Built between medians, this apartment is perched on a lot of 57.3 m². The total square footage of 64.7 m² is divided into three equal sections: two floors and a patio.

• This box of concrete occupies the entire site. The building, centripetal as far as its organization, has a tripartite structure centered around an uncovered patio.

• The reinforced concrete used in this house is presented as the ornamentation for the facade.

Ando’s definition of “vernacular”• Ando recognizes the disjuncture between the traditional Japanese

way of life, and the way of life introduced to Japan in the post war period. He seeks to justify his departure from the vernacular.

• Thus, Ando does not address regionalism through the mere simulation of traditional timber construction or the use of evocative domestic elements like the shoji screen or the tatami mat, apparently denying the nostalgic ethos which such vernacular elements would imply.

• Instead, Ando’s architecture gives rise to a revitalized Japanese feeling for the interplay of light, material and detail, which can be traced to the history of Japanese farmhouses (minka) where light filtering through clerestories produce sharp contrasts of light and shade.

Rokko Housing• The Rokko Housing Project is characterized by

the steep 60 degree slope of the site located at the foot of Mt Rokko. Avoiding the modernist tabula rasa approach of levelling the site, Ando chose to situate his building on the severe slopes to make a “quiet building standing quietly in nature,” one that preserves the tectonic quality of the rugged Mountains.

• “direct dialectical relation with nature,” a dialog with the environment that Ando’s architecture embodies in the articulation of structure through the changing impact of light and terrain.

• In Rokko Housing, these passageways were intended to be activated by the interpenetration of public and private realms so that one can get a sense of the life in each housing unit.

• The houses were built with strong relationships between public and private spaces, through the concept of public traffic and terraces, where the residents. In turn, each household seeks to reaffirm its own individuality, different spaces, terraces, views, and relationships between them.

• I Rokko is based on a grid of twenty modules in plant and increase of 5.80 x 4.80 meters from the sites that are organized.

• Rokko II is structured around a central staircase and contains 50 homes designed on a uniform grid of 5.20 meters behind. The second set of spaces are wider and more luxurious than in the first case. This set has an indoor pool.

• Rokko III is L-shaped built on three levels. It has 174 apartments, with garden terrace on the roof of each home.

Fort Worth Modern Art Museum, Texas

• Concept of engawa• Concept of territorial

delineation.• It houses more that 2,600

significant works of modern and contemporary international art in it's 53,000 square feet of gallery space.

• The Museum exemplifies it's simple geometry, incorporation of the natural environment, and very minimal material selections. Five long, flat-roofed pavilions appear to float atop the 1.5-acre reflecting pond.

• Constructed with only concrete, steel, aluminium, glass and granite, the museum is perfectly reflected in the surrounding pond.

• By using glass as a wall, physically there is a barrier, a protection from the outside, but visually there is no boundary between outside and inside. There is also the light that comes off the water through the glass that indicates a lack of boundary and can make its presence felt on the wall.

• Light also became key in the design of the museum, with an emphasis on both diffused and reflected natural light. Cantilevered cast-concrete roofs support linear skylights and clerestory windows, which accommodate natural light. Five Y-shaped columns standing 40 feet high support the roof slabs, and have become a symbol of the museum.

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