Slick Tech Architecture Or High Tech

Architecture

Submitted By:

Nikhil Mittal 0906024

Ankita kashyap 0906008

High-tech architecture, also known as Late Modernism or Structural

Expressionism, is an architectural style that emerged in the 1970s,

incorporating elements of high-tech industry and technology into building

design. High-tech architecture appeared as a revamped modernism, an

extension of those previous ideas aided by even more advances in

technological achievements. This category serves as a bridge between

modernism and post-modernism, however there remain gray areas as to

where one category ends and the other begins. In the 1980s, high-tech

architecture became more difficult to distinguish from post-modern

architecture. Many of its themes and ideas were absorbed into the language

of the post-modern architectural schools.

Like Brutalism, Structural Expressionist buildings reveal their structure on

the outside as well as the inside, but with visual emphasis placed on the

internal steel and/or concrete skeletal structure as opposed to exterior

concrete walls.

High-tech buildings are often called machine-like. Steel, aluminum, and

glass combine with brightly colored braces, girders, and beams. Many of

the building parts are prefabricated in a factory and assembled later. The

support beams, duct work, and other functional elements are placed on the

exterior of the building, where they become the focus of attention. The

interior spaces are open and adaptable for many uses.

CHARACTERSTICS OF HIGH TECH ARCHITECTURE

1. STYLE LOOKS FUNCTIONAL

2. EXPENSIVE STRUCTURE AND SERVICES

3. SUPPORT FUNCTIONAL VIRTUES AND PRESENT AS

NECESSITY

4. TRANSCENDENTAL MATERIALISM

5. INSIDE OUT

6. TRANSPARENCY,LAYERING AND MOVEMENT

7. BRIGHT ,FLAT COLOURING

8. A LIGHT WEIGHT FILIGREE OF TENSILE MEMBERS

9. EXPREES STRUCTURE AS ORNAMENTAL ORDER

10. MASSIVE STRUCTURAL EXPRESSIONIST

11. CLEAR LAYOUT AND NATURAL LIGHTINING

12. CELEBRATION OF PROCESS

1.INSIDE OUT The Services & Structure Of A Building Are Almost Always Exposed

On The Exterior As A Form Of Ornament Or Sculpture.

2.CELEBRATION OF PROCESS With the emphasis on constructon logic, the’ how, why,& what”of the building its

joists,rivets ,flanges & ducts,there is an intellectual clarity which is pleasing for the

very soul.

The celebration of process often extends to things that are seen to work the

mechanical plant and travelling crane are as omnipresent as the pediment & as the

key stone are in classical archicture.

3.TRANSPERANCY,LAYERING, & MOVEMENT

These three asthetic qualities almost without exception,extensive use of

transulant & transperent glass, a layering of ducts, stairs and structure and the

accentutaion of moving escalators and elevators characterise the high-tech

buiding.

4.BRIGHT FLAT COLOURING

Bright colours are in much the same way used as the eng. Different kinds of

Structures and services are distinguished and allowed them to be easily

understood and effectively used.

5. A LIGHT WEIGHT FILIGREE OF TENSILE MEMBERS

Light weight material used for the ornamentation of the building like the glass

cover with steel frame.

6.OPMISTIC CONFIDENCE IN A SCIENTIFIC CULTURE:-

Underlying high tech building is the futurist promise of an unknown world

waiting to be discovered. This results more in a method of working and

attitude towards material,colours, and inventions than a compositional

principle. However, this often leads to open, in terminate space and

picturesque fragmentation or ,at worst a chaotic massing and confusion of

cues.

ARCHITECTS

Sir Norman Foster

Born:

June 1, 1935 in

Manchester, England

I.M. Pei

Born: April 26, 1917

Sir Richard Rogers

Born: July 23, 1933 in

Florence, Italy

Nicholas Grimshaw

Pritzker Prize-winning British architect Norman

Foster is famous for "High Tech" design that

explores technological shapes and ideas. In addition

to winning the world's most prestigious awards for

architecture, he has been knighted by Queen

Elizabeth II.

INTRODUCTION

June 1, 1935 in Manchester, England

BORN

EARLY LIFE OF FOSTER

Born in a working class family, Norman Foster did not seem likely to become a

famous architect. Although he was a good student in high school and showed an

early interest in architecture, he did not enroll in college until he was 21 years

old. Foster won numerous scholarships during his years at Manchester

University, including one to attend Yale University in the United States.

1)Manchester University School of Architecture

2)Yale University

EDUCATION

HIS PARTNERSHIP At the beginning of his career, Foster worked as a member of

the successful "Team 4" firm with his wife, Wendy Foster, and

the husband and wife team of Richard Rogers and Sue Rogers.

His own firm, Foster Associates, was founded in London in

1967.

FOSTER AND ARCHITECTURE

Foster Associates became known for "High Tech" design that

explored technological shapes and ideas. In his work, Sir

Norman Foster often uses off-site manufactured parts and

the repetition of modular elements. The firm frequently

designs special components for these high-tech modernist

buildings.

1970-74: WILLIS FABER AND DUMAS BUILDING, IPSWICH, UK

1977: SAINSBURY CENTRE, NORWICH, UK

1979-86: HONGKONG AND SHANGHAI BANK, HONG KONG

1987-1991: CENTURY TOWER BUNKYO-KU, TOKYO, JAPAN

1987-1997: AMERICAN AIR MUSEUM, DUXFORD, UK

1988-1995: METRO ENTRANCE, BILBAO, SPAIN

1989-1992: CRANFIELD UNIVERSITY LIBRARY, BEDFORDSHIRE, UK

1990-1995: FACULTY OF LAW, UNIVERSITY OF CAMBRIDGE, UK

1991-1993: LYCÉE ALBERT CAMUS, FRÉJUS, FRANCE

1991-97: COMMERZBANK , FRANKFURT, GERMANY

1992-99: NEW GERMAN PARLIAMENT, BERLIN, GERMANY

1995-2001: DAEWOO RESEARCH AND DEVELOPMENT, SEOUL,

SOUTH KOREA

2008: TERMINAL T3, BEIJING, CHINA

FAMOUS WORK OF FOSTER

Sir norman foster has won numerous awards and honers, including

1999: Pritzker architecture prize

1997: Appointed by the queen to the order of merit

1990: Riba trustees medal for the willis faber dumas building

1990: Knighthood from the queen of england

1983: Riba royal gold medal

AWARDS AND HONERS

LONDON CITY HALL,LONDON

ARCHITECT - Norman foster

Location - Southwark , london , england

Completed - 2002

Style - High-tech modren

City hall is the headquarters of the GREATER LONDON

AUTHORITY (GLA). It is located in southwark, on the

south bank of the river thames near tower bridge. It was

designed by norman foster and opened in july 2002.

The GLA is located in an area needing the

redevelopment, and with such a location, the

government was able to claim their part in the

regeneration process. The design of this building is also

one that provided a symbolic break from the past.

Contrary to some believe, the London Authority doesn’t

actually own the GLA. The assembly chamber houses

the 25 elected members of the London Assembly as well

as the offices of the mayor and the staff of the Greater

London Authority.

Size: Lower ground level, Ground level, plus 9 stories

above. 185,000 SQ FT

FEATURES AND FLOOR PLANS:-

The building has an unusual, bulbous shape, intended

to reduce its surface area and thus improve energy

efficiency. It has been compared variously to Darth

Vader's helmet, a misshapen egg, a woodlouse and

a motorcycle helmet.

At the top of the ten-story

buildingis an exhibition and

meeting space called "London's

Living Room", with an open

viewing deck which is

occasionally open to the public.

The walkway provides views of

the interior of the building, and

is intended to symbolise

transparency.

1. Parking 2. Storage rooms 3. Physical plant 4. Outdoor

amphitheater 5. Cafe 6. Information desk 7. Kitchen 8.

Exhibition area 9. Committee room 10. Meeting room 11.

Media center 12. Reception 13. Assembly chamber 14. Public

viewing gallary 15. Library 16. Reading room 17. IT room 18.

Ofiice 19. Open - plan area 20. Terrace 21. London's Room

UNDERGROUND

FIRST FLOOR

SIXTH LEVEL

NINETH LEVEL

A 500-metre (1,640 ft) helical walkway,

reminiscent of that in New

York's Solomon R. Guggenheim Museum,

ascends the full height of the building.

THE INTERIOR HELICAL STAIRCASE

At the top of the ten-story building is an

exhibition and meeting space called

"London's Living Room", with an open

viewing deck which is occasionally open to

the public. The walkway provides views of

the interior of the building, and is intended

to symbolise transparency.

ORIENTATION: To further improved the

shape and performance of this building the

sphere shape was skewed to more of an egg

shape that leans South blocking the direct

sunlight with it’s own shape.

ORIENTATION SHADING: The egg shape is in itself a

strategy for passive design. The South side of

the building leans back so the floor-plates

step out over the windows below each other

providing shade for the naturally ventilated

offices.

SHADING

SECTION

AERIAL VIEW

EAST ELEVATION

WEST ELEVATION

NORTH ELEVATION

30 ST.MARY AXE

Type:- Office Location:-St. Mary Axe,City of London Construction:- 2001 Completed:- 2003 Roof:- 180 m Floor Count:- 40 Floor Area:- 47950 sq.m Architect:- Foster and Partners Structural Engineer:- Arup

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,stands on the former

site of the Baltic Exchange building, which was severely

damaged on 10 April 1992 by the explosion of a bomb

placed by the Provisional IRA.

After the plans to build the Millenium Tower were dropped,

the current building was designed by Norman Foster and

Arup engineers, and was erected by Skanska in 2001–2003.

The tower's topmost panoramic dome, known as the

"lens", recalls the iconic glass dome which covered part

of the ground floor of the Baltic Exchange.

Constructed on a diagrid structure

Made of 5,500 glass panels

Only piece of curved glass is the lens

Radial floor design with each floor is

rotated 5°

Set of six atriums two to six stories high

30 ST. MARY AXE

SITE PLAN

FEATURES

Tapers outward from the base and then

narrows.

Smaller footprint allows for a public plaza.

Aerodynamic shape creates less

downdraft.

Building shape allows for natural light.

Differing air pressures and double skin

façade allow for natural ventilation

Solar blinds to reclaim or reject heat

Windows and blinds are computer

controlled

Light level and motion sensor lights

VENTILATION AND LIGHT

Temperature can be controlled in several

separate zones on each floor

Windows open when external temperature is

between 20°C and 26°C and wind speed is less

than 10 mph

Building can potentially turn off mechanical

temperature system 40% of the year

Main energy source is gas

Building was supposed to consume 50% less

energy

ENERGY USE:-

CENTURY TOWER, JAPAN

Architect: Norman Foster

Year: 1987 To 1991

Location: Bunkyo-ku-tokyo, Japan

Building Type: Commercial And Office Building.

For the first time in Hong Kong & Shanghai Bank,

century tower is not a corporate headquarters, but a

prestige office block with a wide range of services,

including a fitness center and a museum. The

program is very specific and gave great freedom with

respect to the image that the work would be needed

to meet the agenda of the functional requirements

and the strict rule that exists to build in central

Tokyo.

The building is located in Bunkyo-ku, in the heart of Tokyo, it occupies a

site subject to complex zoning regulations due to be at the heart of the city.

Mainly the building has two well-marked contrast, the urban and the

Riverine, on the north side the building looks against a highly

homogeneous compared completely urban only interrupted by the Hongo

Station Water Park.

STRUCTURE AND MATERIALS

The building is founded on rollers that are

designed to withstand an earthquake correctly to

the steel structure is independent of using this

style of structural expressionism because at all

times the structure is visible.

The exterior is solved with a curtain wall, while

the predominant material inside the glass walls

and some ceilings, steel structure, the black

granite is used in places where it occurs the water

and wood is present in some doors and divisions.

SPACES

The response to the project was the design of the tower in two blocks,

nineteen to twenty stories high, connected by a narrow atrium.

The outer shape of the blocks is defined by the eccentrically braced

frames, in response to the needs of earthquake engineering in a city where

earthquakes and typhoons are very real threats.

Inside the floors are double height spaces with mezzanines suspended

between them, allowing office space free of columns and enjoy natural

light and views.

The main entrance

is located on the

south side of the

building on Avenue

405, on the other

side of this contrast

look at the other

building, a

waterway with a lot

of value in the city,

the Kanda River

INTRODUCTION:-

EARLY LIFE AND CARRER OF ROGER:-

Richard George Rogers, Baron Rogers of Riverside (born

23 July 1933) is a British architect noted for his

modernist and functionalist designs. Rogers was born

in Florence in 1933 and attended the

Architectural Association School of Architecture in

London, before graduating with a master’s degree from

the Yale School of Architecture in 1962. While studying at

Yale, Rogers met student Norman Foster and planning

student Su Brufellow architecture mwell.

Rogers was born in Florence in 1933 and attended the Architectural

Association of Architecture in London, before graduating with a master’s

degree from theYale School of Architecture in 1962.While studying at

Yale, Rogers met fellow architecture student Norman Foster and planning

student Su Brumwell. On returning to England he, Foster and Brumwell

set up architectural practice as Team 4 with Wendy Cheeseman (Brumwell

later married Rogers, Cheeseman married Foster).Rogers and Foster

earned a reputation for what was later termed by the media high tech

architecture

HIS FAMOUS WORKS:-

•Lloyd's building, London, UK (1978–84)

•Fleetguard Manufacturing Plant, Quimper, France (1979–1981)

•Inmos microprocessor factory, Newport, Wales (1980–1982)[

•PA Technology Centre, Princeton, New Jersey, USA (1982–1985)

•Old Billingsgate Market, London, UK (1985–1988)

•Centre Commercial St. Herbain, Nantes, France (1986–1987)

•The Deckhouse, Thames Reach, London, UK (1986–1989)

•Paternoster Square, London, UK (1987)

•45 Royal Avenue, London, UK (1987)

•Reuters Data Centre, London, UK (1987–1992)

•Kabuki-cho Tower, Tokyo, Japan (1987–1993)

•Antwerp Law Courts, Belgium (2000–2006)

•88 Wood Street, London, UK (1990–1999)

•Tower Bridge House, London, UK (1990–2005)

•Daimler complex, Potsdamer Platz, Berlin (1993–1999)

•Palais de Justice de Bordeaux, Bordeaux, France (1993–1999)

•Montevetro, London, UK (1994–2000)

•Lloyd's Register building, London, UK (1995–1999)

•Minami-Yamashiro Primary School, near Kyoto, Japan (1995–2003)

•Millennium Dome, London, UK (1996–1999)

•Broadwick House, London, UK (1996–2000)

HONOURS AND AWARDS:-

Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier,

L’Ordre National de la Légion d'honneur in 1986. He received a Golden Lion for

Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the

Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4

of Barajas Airport,and again in 2009 for Maggie's Centre in London.In 2007

Rogers was made Laureate of the Pritzker Architecture Prize - architecture's

highest honour. He was awarded the Minerva Medal by the Chartered Society of

Designers in the same year.

Rogers has been awarded honorary degrees from several universities, including

Alfonso X El Sabio University in Madrid, Oxford Brookes University,

the University of Kent, the Czech Technical University in Prague and the Open

University. In 1994, He was awarded an Honorary Degree (Doctor of Science) by

the University of Bath.

FAMILY LIFE:-

Rogers is married to Ruth Rogers, chef and co-owner of The River

Cafe restaurant in west London. They have two sons together, Roo and Bo. He

also has three sons, Ben, Zad and Ab, from his first marriage to Su Brumwell.

He has ten grandchildren.

LLOYD'S BUILDING

Architect: Richard Rogers

Location: 1 lime street, city of London.

Date: 1978 to 1986

Building Type: Office Building.

Antenna Spire: 93.1 m (312 ft)

Roof: 88m (289 ft)

Floor count: 14

"Buildings are not idiosyncratic private institutions: they give public

performances both to the user and the passerby. Thus the

architect's responsibility must go beyond the client's program and

into the broader public realm. Though the client's program offers

the architect a point of departure, it must be questioned, as the

architectural solution lies in the complex and often contradictory

interpretation of the needs of the individual, the institution, the

place and history. The recognition of history as a principle

constituent of the program and an ultimate model of legitimacy is a

radical addition to the theories of the Modern Movement."

CREATOR’S WORD

The lloyd's building (also sometimes known

as the inside-out building

The building was innovative in having its

services such as staircases, lifts, electrical

power conduits and water pipes on the

outside, leaving an uncluttered space inside.

The building consists of three main towers

and three service towers around a central,

rectangular space. Its focal point is the large

underwriting room on the ground floor,

which houses the famous lutine bell.

The underwriting room is overlooked by galleries, forming a

60 metres (197 ft) high atrium lit naturally through a

huge barrel-vaulted glass roof.

On the ground floor of the atrium sits the

Lutine Bell, salvaged from the French frigate

La Lutine which surrendered to the British in

1793. The bell is rung once for good news

and twice for bad, and the expansive atrium

carries the sound to everyone in the building.

SITE PLAN

FLOOR PLAN

The services of the building are exposed.

The external wall is claded with sparkel glass and

deep mullions the holes cut the mullions not only

reduce the weight; they also increase the amount

of light reaching the façade.

THE EXPOSED SERVICES OF

THE BUILDING

INNER VIEW

The first four galleries open onto the atrium space, and

are connected by escalators through the middle of the

structure. The higher floors are glassed-in, and can only

be reached via the outside lifts.

At the heart of the building is a huge atrium,

14 floors and 76 meters (249 feet) tall.

The building's height rises from seven

storeys on the south elevation through a

series of terraces to its full height on the

north side.

The total possible underwriting area is

19,000 square metres.

33,510 cubic metres of concrete were

used in the building's construction, as

were 12,000 square metres of glass,

30,000 square metres of stainless steel

cladding, 5,000 square metres of

anodised aluminium frame and 2,000

square metres of painted steel.

SECTION THROUGH THE

BUILDING

ELEVATION

MILLENIUM DOME,LONDON

ARCHITECT - RICHARD ROGERS

LOCATION - Drawdock Road /

Millennium Way Greenwich

Peninsula

London

BULIDING TYPE - Exhibition space

STRUCTURAL SYSTEM - Steel &

tensioned fabric

COMPLETED - 1999

STYLE - HIGH-TECH MODREN

The Millennium Dome, is referred

to simply as The Dome, is the

large dome-shaped building,

originally used to house

the Millennium Experience, a major

exhibition celebrating the beginning

of the third millennium. Located on

the Greenwich Peninsula in South

East London , England.

MILLENIUM DOME

The dome is the largest of its

type in the world. Externally, it

appears as a large

white marquee with twelve

100 m-high yellow support

towers, one for each month of

the year, or each hour of the

clock face, representing the

role played by Greenwich

Mean Time.

In plan view it is circular, 365 m in diameter — one metre

for each day of the year — with scalloped edges. It has

become one of the United Kingdom's most recognisable

landmarks.

The entire roof structure weighs less than the air contained

within the building. Although referred to as a dome it is

not strictly one as it is not self-supporting, but is a mast-

supported, dome-shaped cable network. For this reason, it

has been disparagingly referred to as the Millennium Tent.

FLOOR PLAN

FEATURES

• The Dome is suspended from a series

of twelve 100m steel masts, held in

place by more than 70km of high-

strength steel cable which in turn

support the Teflon-coated glass fibre

roof.

• The interior space was subdivided into

14 zones (with the lead designers of the

zones):

• More than 6 million people visited the

attraction during 2000. The Dome has

now become the home of the O2 arena,

one of the UK's most popular music

venues.

The canopy is made of PTFE-

coated glass fibre fabric, a

durable and weather-resistant

plastic, and is 52 m high in the

middle - one metre for each

week of the year. Its

symmetry is interrupted by a

hole through which a

ventilation shaft from

the Blackwall Tunnel rises.

SECTION OF THE BUILDING

SECTION OF THE BUILDING

INTERIOR FEATURES

88 WOOD STREET,LONDON

"Buildings are not idiosyncratic private institutions: they give

public performances both to the user and the passerby. Thus the

architect's responsibility must go beyond the client's program

and into the broader public realm. Though the client's program

offers the architect a point of departure, it must be questioned,

as the architectural solution lies in the complex and often

contradictory interpretation of the needs of the individual, the

institution, the place and history."

CREATOR’S WORD

Location:-London, England

Date:-1993 to 2001 timeline

Building Type:-commercial office towers

Construction System:-concrete frame with

steel bracing, glass curtain wall

Climate:- temperate

Context:-urban

Style:- High-Tech Modern

FEATURES:-

88 Wood Street is an iconic high rise landmark

office building designed by the world renowned

Richard Rogers Partnership.

One of four buildings designed by the architects

in the City of London, it cuts a striking image on

the London skyline. Four pipe fan coil air conditioning

Enhanced raised floors (190mm)

Floor to ceiling height (2.75m)

Metal tiled suspended ceilings

Eight 16-person high-speed, scenic

passenger lifts (4 of these serve level 15)

One 2,000 kg goods lifts

The available tower floor has panoramic views across Central London with the

stunning backdrop of the City.

The floor space offers occupiers a unique position in the heart of London's

Financial District.

Looking South, the dome of St Paul's Cathedral dominates the view as the

River Thames meanders towards the West.

FLOOR PLAN

The building comprises three parallel blocks uninterrupted by

plant which is sited in the basement.

At 4 metres (13 feet) by 3 metres (9.8 feet) and weighing in at

800 kg (1,760 lbs) each, the floor-to-ceiling height triple-glazed,

laminated glazing units are some of the world's largest and

contain internal blinds adjusted by photoelectric cells which

automatically adjust to suit the climate.

Sir Nicholas Grimshaw, (born 9 October 1939) is a

prominent English architect particularly noted for

several modernist buildings, including London's Water

Loo International Project and the Eden

Project in Cornwall. In late 2004, He was elected

President of the Royal Academy

Born in Hove, East Sussex, Grimshaw inherited an

interest in engineering .He is also reputed to have

displayed an early interest in construction; his

boyhood interests included Meccano building tree

houses and boats.

INTRODUCTION:-

EARLY LIFE AND EDUCATION OF ROGER:-

He was educated at Wellington College. From 1959 to 1962, he

studied at the Edinburgh College of Architecture before winning a

scholarship to attend the Architectural Association in London,

where he won further scholarships to travel to Sweden in 1963 and

the United States in 1964. He graduated from the AA in 1965 with

an honours diploma, and having entered into a partnership with

Terry Farrell, he joined the Royal Institute of Architects two years

later in 1967.

HIS FAMOUS WORKS:-

125 Park Road, London (1970)

BMW (UK) headquarters, Bracknell (1980)

Oxford Ice Rink, Oxford (1984)

Financial Times Printworks, Blackwall, London (1988)

Rank Xerox Research Centre, Welwyn Garden City (1988)

Sainsbury's Supermarket, Camden Town, London (1988)

Stockbridge Leisure Centre, Liverpool (1988)

British Pavilion Expo '92, Seville, Spain (1992)

International Terminal at London’s Waterloo Station (1993)

British Airways Combined Centre Of Operations ('The Compass

Centre'), Heathrow Airport (1993)

Western Morning News Headquarters and Printworks, Plymouth (1993)

RAC Regional Headquarters, Bristol (1994)

Pier 4A, Heathrow Airport, (1994)

Berlin Stock Exchange, Berlin, Germany (1997)

Lord's Cricket Ground Grandstand, London (1998)

Terminal 3, Heathrow Airport (1998)

North Woolwich pumping station, London Docklands (1998)

Bilbao Bus Station, Bilbao, Spain (1999)

Eden Project, Cornwall, (2001)

LORD’S CRICKET GROUND

ARCHITECT - Nicholas grimshaw

LOCATION - St john's wood, london

ESTABLISHED - 1814

STYLE - High-tech modren

Lord's Cricket Ground (generally

known as Lord's) is a cricket

venue in St John's Wood, London.

Lord's is widely referred to as the

"home of cricket" and is home to the

world's oldest sporting museum.

Lord's today is not on its original site,

being the third of three grounds that

Lord established between 1787 and

1814. His first ground, now referred to

as Lord's Old Ground, His second

ground, Lord's Middle Ground, was

used from 1811 to 1813 The present

Lord's ground is about 250 yards

(230 m) north-west of the site of the

Middle Ground.

TOP VIEW

The ground can currently hold

up to 32,000 spectators. The two

ends of the pitch are the Pavilion

End (south-west), where the

main members' Pavilion is

located, and the Nursery End

(north-east), dominated by the

Media Centre.

The Pavilion also contains

the dressing rooms where players

change, each of which has a small

balcony for players to watch the

play. In each of the two main

dressing rooms are honours boards

which commemorate all the

centuries scored in Test matches on

the Lord’s ground and all instances

of a bowler's taking five wickets in a

Test innings and ten wickets in a

Test match.

The Pavilion also contains the dressing rooms where players change, each

of which has a small balcony for players to watch the play. In each of the

two main dressing rooms are honours boards which commemorate all the

centuries scored in Test matches on the Lord’s ground and all instances of

a bowler's taking five wickets in a Test innings and ten wickets in a Test

match.

The Media Centre was

commissioned in time for

the 1999 Cricket World

Cup and was the first all

aluminium, semi-monocoque

building in the world. It was

built and fitted-out in two

boatyards and uses boat-

building technology. The

centre stands 15 metres

(49 ft) above the ground and

its sole support comes from

the structure around its two

lift shafts — it is

approximately the same

height as the Pavilion directly

opposite it on the other side

of the ground. The lower tier

of the centre provides

accommodation for over 100

journalists and the top tier

has radio and television

commentary boxes.

Another highly visible feature of the

ground is Old Father Time,

a weather vane in the shape

of Father Time, currently adorning a

stand on the south-east side of the

field

The Lord's Taverners, a charitable

group comprising cricketers and

cricket-lovers, take their name from

the old Tavern pub at Lord's, where

the organisation's founders used to

congregate. The pub no longer exists,

and the Tavern Stand now stands on

its former site.

One of the features of the ground is the

pair of ornamental gates, named in

honour of W G Grace. In 1923, the W G

Grace Memorial Gates were erected at

the St John's Wood Road entrance to the

ground.

ENTRANCE GATE

NATIONAL SPACE CENTRE

The National Space Centre is one of

the United Kingdom's leading visitor

attraction that is devoted to space science

and astronomy. It is located in the city of

Leciester, England, next to the River

Soar on the A6

The building was designed by Nicholas

Grimshaw, and it opened to the public on 30

June 2001. The tower is 42 metres tall.

CREATOR’S WORD

"The Space Centre is a building entirely driven by

science, emerging as an idea from the space

scientists at Leicester University. It is one of the

new generation of interactive science centres,

concerned not only with rockets and satellites and

space travel, but more widely with our whole

place in the cosmos".

CONSTRUCTION PROGRESS:-

The site in the Abbey Meadows area, a 14.5 acre brownfield on Exploration

Drive, previously housed the Abbey Tanks, a sewage treatment works, and

was donated to the Space Centre project by Severn Trent Water. A council

tip was also formerly operational on part of the Space Centre site. This was

relocated before construction works commenced, and the Space Centre

leases that section of land from Leicester City Council. In the summer of

1999 the existing road leading to the site, Corporation Road, was widened,

and a completely new road, Exploration Drive, built and opened.

That first phase of works involved a total of about 250 people working on

the site. Around 20,000 cubic meters of "muck" was removed from the

tanks, with 15,000 cubic meters going back in as part of the stabilizing

process. The rest was retained for use later in the project - mainly for

landscaping purposes. In total, around 5,500 cubic meters of concrete has

been poured into the site.

SALIENT FEATURES:-

The main body of the Space Centre Building, a

perforated stainless steel box, is built partially

below ground level within the walls of the old

storm water tanks. Below the domed roof is a

planetarium and a space research center. The

entrance to the Space Centre is reached from a

courtyard, where the Challenger Learning Centre

building is located.

The 140 foot high Rocket Tower, the main

feature, dominates the local skyline. The semi-

transparent tower, clad with high-tech ETFE

"pillows" manufactured by specialist suppliers

Skyspan International, was designed to house

the attraction's largest artifacts, including two

huge rockets.

Several "decks", connected by a series of

staircases, are placed at various heights in the

tower. To allow easier access during

replenishment of large exhibits the side of the

tower can be partly detached.

INTERIOR SPACES:-

EXHIBITION SPACE:-

There is a exhibition space

also in National Space

Centre for Displaying

Various Equipments Made

at this centre

An interior shot of the National Space Centre that

is situated in Leicester, England. This particular

part of the space centre houses two rockets, both of

which have been used and were shipped to

England to be exhibited here in the 42 metre high

tower especially built to accommodate them.

The rocket on the right is America's PGM-17 Thor

Able rocket, and the one on the left is Britain's

Blue Streak.

EXHIBITION SPACE

EXHIBITION SPACE

WATERLOO INTERNATIONAL TERMINAL,LONDON

Designed by theNicholas Grimshaw and Partners

1993

Best known for its 400-meter-long curved glass

roof, Grimshaw's International Terminal at

Waterloo Station provides airport-quality

accommodation for the London end of the

Eurostar trains services through the Channel

Tunnel to Paris and Brussels.

The length of the trains and the curve of the five

new tracks dedicated to the Eurostar service at the

side of the existing station determined the

geometry of the new building, including the

distinctive roof.

The elements of the building

include a reinforced concrete

box to accommodate an

underground car park and

provide a foundation over the

Underground train lines, and a

two-story viaduct supporting the

Eurostar platforms, which are

reached by escalator from a

subterranean 'departure lounge'.

The roof accounted for 10

percent of the overall budget.

SALIENT FEATURES:-

Waterloo international terminal is

situated at london uk designed by

AR.Nicholas grimshaw and

partnerswith yrm hunt associates.

The psan of the terminal is 48.5

M(158 ft.) The structure of the roof

is in glass and steel frames which are

supported inverted

FLOOR PLAN

In contrast to more recent

complex curved glass roofs, such

as Grimshaw's own Eden

Project or Norman Foster's British

Museum courtyard, the Waterloo

roof was designed to use standard-

size glass sheets, which overlap

and use a concertina joint to

accommodate the dual curve of

the roof-arch and the track.

EXTERIOR VIEW FROM THE ROAD ACCESS SIDE OF THE BUILDING.

CURVED GLASS ROOF

SECTION THROUGH THE BUILDING

Born:- April 26, 1917 (age 94)

Canton (Guangzhou), China

Nationality:- American

Alma mater :- Massachusetts Institute of

Technology

INTRODUCTION:-

EARLY LIFE AND CARRER OF PIE:-

Ieoh Ming Pei (born April 26, 1917), commonly known as I. M. Pei, is an Chinese architect, often called a master of modern architect Born in Canton,China and raised in Hong Kong and Shanghai, Pei drew inspiration at an early age from the gardens at Suzhou. In 1935 he moved to the United States and enrolled in the University of Pennsylvania's architecture school, but quickly transferred to the M.I.T. He was unhappy with the focus at both schools on Beaux Arts School, and spent his free time researching the emerging architects, especially Le Corbusier.

I.M .PIE

As Pei neared the end of his secondary education, he decided to study at an overseas university. He was accepted to a number of schools, but decided to enroll at the .Pei's choice had two roots. While studying in Shanghai, he had closely examined the catalogs for various institutions of higher learning around the world. The architectural program at the University of Pennsylvania stood out to him.

AWARDS:-

Royal Gold Medal

AIA Gold Medal

Presidential Medal of Freedom

Pritzker Award

STYLE:-

Pei's style is described as thoroughly modernist, with

significant cubist themes.He is known for combining

traditional architectural elements with progressive

designs based on simple geometric patterns. As one

critic writes: "Pei has been aptly described as

combining a classical sense of form with a

contemporary mastery of method.”

FAMOUS BUILDING:-

John K Kennedy Library National Gallery of Art Louvre Pyramid, Paris Bank of China Tower, Hong Kong Museum of Islamic art,Doha

LOUVRE PYRAMID

Architect: I.M.Pei

Location: Paris

Date: Completed In 1989

Building Type: Museum

Construction System: Steel Frame, Glass

Curtain Walls.

The louvre pyramid is a large glass and metal pyramid, surrounded by three

smaller pyramids.

The large pyramid serves as the main entrance to the Louvre museum has

become the landmark in the city Paris.

The structure, which was constructed entirely with glass segments, reaches a

height of 20.6 metres (about 70 feet); its square base has sides of 35 metres

(115 ft). It consists of 603 rhombus-shaped and 70 triangular glass

segments.

FLOOR PLAN

SECTION MATERIALS ELEVATION

The main pyramid is actually the largest of several glass

pyramids that were constructed near the museum,

including the downward-pointing la pyramide

inversée that functions as a skylight in an underground

mall in front of the museum.

For design historian Mark Pimlott, "I.M. Pei’s plan distributes

people effectively from the central concourse to myriad

destinations within its vast subterranean network...

international airports."

View Of The Louvre Museum From

The Underground Lobby Of The

Pyramid.

The Entry Lobby Of The Louvre

Museum Beneath The Pyramid.

The architectonic framework evokes, at

gigantic scale, an ancient atrium of a

Pompeiian villa; the treatment of the

opening above, with its tracery of

engineered castings and cables, evokes the

atria of corporate office buildings; the

busy movement of people from all

directions suggests the concourses of rail

termini.

The main pyramid is actually the largest

of several glass pyramids that were

constructed near the museum, including

the downward-pointing that functions as

a skylight in an underground mall in

front of the museum. During the design

phase, there was a proposal that the

design include a spire on the pyramid to

simplify window washing. This proposal

was eliminated because of objections

from I. M. Pei

JOHNSON MUSEUM OF ART

Established :-1973

Location :-Central & University Avenues,

Ithaca, New York

Visitor figures :-80,000

Director :-Franklin W. Robinson

Architect:- I.M. Pei

The Herbert F. Johnson Museum of Art ("The

Johnson Museum") is an art museum located on

the northwest corner of the Arts Quad on the

main campus of Cornell University in Ithaca, New

York. It is most well known for its

distinctive concrete facade, its collection which

includes two windows from Frank Llyod's Wright

and Darwin D Martin House, and more than

32,000 other works. The Museum hosts over

80,000 visitors every year and presents over 20

special exhibitions annually.

President Deane Waldo established the original University Art Museum in 1953.

The A.D. White House was renovated to house Cornell's art collections. The

current museum, constructed in 1973, is named after its primary

benefactor, Herbert Johnson

FEATURES:- The Johnson Museum of Art was designed by

architect I.M. Pei. It can be characterized by its

fifth floor, which cantilevers over the open aired

sculpture garden. It was designed so that it would

not block the view of Cayuga Lake, and offers a

panoramic view of the same from its north and

west sides. It also houses a room for meetings on

the sixth floor, which was used for many years by

Cornell's Board of Trustees

The unique location of the

museum presented several

architectural challenges;

building space was limited,

and it could not overwhelm

the view of Cayuga Lake or

the nearby Arts Quad.

Moreover, it would sit atop

the knoll where tradition

said Ezra Cornell chose the

site for his university, at the

north end of the Stone Row

of McGraw, Morrill, and

White Halls.

GROUND FLOOR PLAN

SIXTH FLOOR PLAN

SECOND FLOOR PLAN

The design sought to visually terminate the north end of Library Slope. The

resulting design was a narrow tower and a bridge, which critics have likened to a

giant sewing machine.

One element of the original design, which was never constructed, was an

underground Asian art gallery which would have included windows breaching

the Southern face of Fall Creek Gorge.

The building was awarded the American Institute of Architects Honor Award in

1975. The building's design also appeared on the cover of Scientific Americanas

an early example of computer graphics.

ELEVATION

.

JOHN HANCOCK TOWER

Type :-office Location :-200 clarendon street, boston, massachusetts, united states Construction started :-1968 Completed :-1976 Height roof :-790 ft (240.8 m) Floor count :-60 Owner :-boston properties Architect :-i.M. Pei & partners Developer :-john hancock mutual life insurance company

The John Hancock Tower, officially named Hancock Place and colloquially known as The Hancock, is a 60-story, 790-foot (241 m) skyscraper in Boston. The tower was designed by Henry N. Cobb of the firm I. M. Pei & Partners (now known as Pei Cobb Freed & Partners) and was completed in 1976. In 1977, the American Institute of Architects presented the firm with a National Honor Award for the building and in 2011 conferred on it the AIA Twenty-five Year Award. It has been the tallest building in Boston for more than 30 years, and is the tallest building in New England.

DESIGN FEATURES:-

SITE PLAN

Tall, skinny glass structures were a goal of

modernist architecture since Mies Van Der

Rohe proposed a glass skyscraper for Berlin.Such

buildings as Gordon Bunshaft's Lever House and

Mies's Seagram Building in New York City,

and Frank Lloyd Wright's Johnson Wax

Headquarters attempted this goal, but many of

these designs retained structural artifacts that

prevented a consistent, monolithic look.

In 1972, Cobb's design of the Hancock Tower took

the glass monolith skyscraper concept to new

heights. The tower is an achievement in

minimalist, modernist skyscraper design.

Minimalism was the design principle behind the tower. The

largest panes of glass possible were used. There are

no spandrel panels, and the mullions are minimal. Cobb added

a geometric modernist twist by using a parallelogram shape for

the tower floor plan. From the most common views, this design

makes the corners of the tower appear very sharp. The highly

reflective window glass is tinted slightly blue, which results in

the tower having only a slight contrast with the sky on a clear

day. As a final modernist touch, the short sides of the

parallelogram are marked with a deep vertical notch, breaking

up the tower's mass and emphasizing its verticality. In late

evening, the vertical notch to the northwest catches the last

light of the sky, while the larger portions of glass reflect the

darkening.

PROBLEM WITH THE BUILDING :-

FOUNDATION:-

Hancock Tower was plagued with problems before construction started. During

the excavation of the tower's foundation, temporary steel retaining walls were

erected to create a void on which to build. The walls warped, giving way to the

clay and mud fill of the Back Bay which they were supposed to hold back. The

inward bend of the retaining walls damaged utility lines, the sidewalk pavement,

and nearby buildings—including the historic Trinity Church across the street.

Hancock ultimately paid for all the repairs.

FALLING GLASS PANES:-

Inventing a way to use the blue mirror glass in a steel tower came at a high

price. The building's most dangerous and conspicuous flaw was faulty glass

windows. Entire 4' x 11', 500-lb (1.2 x 3.4 m, 227 kg) windowpanes detached

from the building and crashed to the sidewalk hundreds of feet below. Police

had to close off surrounding streets whenever winds reached 45 mph (72 km/h).

NAUSEATING SWAY :-

The building's upper-floor occupants suffered from motion sickness when

the building swayed in the wind. To stabilize the movement, contractors

installed a device called a tuned mass damper on the 58th floor.[6]

As

described by Robert Campbell, architecture critic for the Boston Globe:

Two 300-ton weights sit at opposite ends of the 58th floor of the Hancock.

Each weight is a box of steel, filled with lead, 17 feet (5.2 m) square by 3

feet (0.9 m) high. Each weight rests on a steel plate. The plate is covered

with lubricant so the weight is free to slide. But the weight is attached to

the steel frame of the building by means of springs and shock absorbers.

When the Hancock sways, the weight tends to remain still, allowing the

floor to slide underneath it.

CLOSURE OF THE OBSERVATION DECK:-

An observation deck with spectacular views of Boston was a popular attraction.

However, it was closed after the September 11, 2001, terrorist attacks.Because of

the closure of the John Hancock Tower's observation deck, the highest observation

deck open to the public in Boston is in the Prudential Tower.

The building's owners cite security as the reason for the continued closure. They

have rented the deck for private functions and have expressed intent to replace it

with more office space. Boston city officials contend that security concerns are

moot, since most similar attractions have long since reopened

CONCLUSIONS:-

•High-tech architecture was, in some ways, a response to growing

disillusionment with modern architecture.

•High-tech architecture created a new aesthetic in contrast with standard

modern architecture.

•The term "high-tech" explained as one being used in architectural circles

to describe an increasing number of residences and public buildings with a

"nuts-and-bolts, exposed-pipes, technological look". This highlights one of

the aims of high-tech architecture, to boast the technical elements of the

building by externalizing them. Thus, the technical aspects create the

building's aesthetic.

•Structures have accentuated technical elements. They included the

prominent display of the building's technical and functional components,

and an orderly arrangement and use of pre-fabricated elements.

•Glass walls and steel frames were also immensely popular.

•The high-tech buildings make persistent use of glass curtain walls and

steel structure moreover this style usually consist of a clear glass façade. It is

greatly indebted to modern architecture.

THANK YOU