Late modernism

Late Modernism encompasses the overall production of most recent architecture made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences.



Late Modernism, also known as High-tech architecture or Structural Expressionism, is an architectural style that emerged in the late 80s, this style became a bridge between modernism and postmodernism.

Architecture in which the images, ideas, and motifs of the Modern Movement were taken to extremes, structure, technology, and services being grossly over stated at a time when Modernism was being questioned.

In the year 1980s the high tech architecture started to look different from the post modern architecture. Many of the themes and ideas which originated during the post modern times were added to the high tech architecture.

Modern architecture is primarily driven by technological and engineering developments, and it is true that the availability o f new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution.

1. LATE MODERNISM HABIB REHMAN | CHRISTOPHER CHARLES BENNINGER | KARAN GROVAR HISTORY OF ARCHITECTURE 6

2. Late Modernism  encompasses the overall production of most recent architecture made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences. Late Modernism , also known as High-tech architecture or Structural Expressionism, is an architectural style that emerged in the late 80s, this style became a bridge between modernism and postmodernism. Architecture in which the images, ideas, and motifs of the Modern Movement were taken to extremes, structure, technology, and services being grossly over stated at a time when Modernism was being questioned. In the year 1980s the high tech architecture started to look different from the post modern architecture. Many of the themes and ideas which originated during the post modern times were added to the high tech architecture. Modern architecture is primarily driven by technological and engineering developments, and it is true that the availability o f new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution. LATE MODERNISM

3. CHRISTOPHER CHARLES BENNINGER

4. CHRISTOPHER CHARLES BENNINGER Introduction Christopher Charles Benninger  is an American-Indian architect and planner. Born in Hamilton, Ohio in 1942. He studied urban planning at the Massachusetts Institute of Technology and architecture at Harvard's Graduate School of Design, where he later taught (1969–72). Philosophy To gain something beautiful, one may have to give up something beautiful.

5. PRINCIPLES Use materials in their natural form: Honesty in Expression . Use human scale as your measuring stick: Humanism. Integrate structures with their contexts assessing what is positive and what is negative in the context: Critical Regionalism. Draw elements from the local vernacular: Balance with Tradition . Create public domains and convivial spaces: Balance with Community . Bring the natural landscape into the buildings and the buildings into the natural landscape: Balance with Nature. Use materials which are fabricated within a 100-kilometre radius of the site, and which the local labour force is comfortable in working with: Appropriate Technology. Make the pedestrian the king and the vehicle the servant: Separate out all machine movement from within the campus, or urban neighbourhood . Putting People First. Draw one’s proportions from the nearby physical features and find order from the landscape: Organic Architecture. Find a secret geometry to unify all of the components into a holistic composition. Holism.

6. SAMUNDRA INSTITUTE OF MARITIME STUDIES MUMBAI

7. The campus, which was completed in 2007, houses 480 cadets. Photovoltaic cells, both translucent and opaque, become modern-day Indian ‘ jaalis ,’ allowing natural light while blocking heat. The three hundred feet long photovoltaic solar wall in the Maritime Workshop produces 60 KW of electricity. Clear glass on the north façade brings in natural light, giving the testing equipment and machinery all-round, energy free illumination and ventilation. The Administration Building cleverly exploits northern light through its wavy glass atrium wall, while generating electricity through the grand photovoltaic south-facing façade that produces 30 KW of electricity. All buildings have natural illumination, cutting consumption of non-renewable energy . CONCEPT Area : 21,500 sqm

8. Assembly Hall

9. Administration

10. Classrooms

11. Workshop

12. Hostel

13. SUZLON ONE EARTH PUNE

14. CONCEPT Area : 10.5 acres Suzlon Energy Limited, pledged to create the greenest office in India . Living the motto of the company, ‘powering a greener tomorrow’, the architect relied exclusively on non-toxic and recycled materials . It has become the need of the hour for global corporations to have sensitively designed buildings which reflect their values, concerns for environment and the image of the new age. It derives its inspiration from large Indian historical campuses like Fatehpur Sikri and the Meenakshi Temple complex in Madurai. This took the shape of a Land Scraper, opposing the idea of a Skyscraper! It is a counter blast to “the glass box .” A series of served and server spaces were created to adopt to the transformational nature of the business over the years. The Served Spaces cover the lion’s share of the campus where people work that can accommodate modular walls and furniture systems.

15. These are served by more rigid cores that house wet areas, utility shafts, ducts, fire stairs, elevators, entry and reception areas that will not change over time . “ Modules” like the silo fire stairs; the benchmark glass cylinders and the 8.4 by 8.4 meter modules that can be used like a Lego Set and moved about in one’s mind to create internal and external spaces.

16. Aluminum louvers act as a protective skin allowing daylight and cross ventilation.

17. The design process started with a premise of creating a central gathering space, or Brahmasthan , with the sky as its ceiling! There is visual access to the large central gardens from everywhere. There is a sense of connection between the various kinds of spaces right from the underground entries vide the sunlight that descends there from the Sky Courts and the Glass Cylinders and the vegetation that flows from these elements, up through the cylinders into the main circulation nodes of the building

18. Aluminum louvers act as a protective skin allowing daylight and cross ventilation. All areas have operable fenestration allowing natural air and ventilation when possible. These strategies resulted in lower, thinner and longer building shapes that increase the ratio of fenestration to volume, enhancing natural light and ventilation in a hot and dry climatic conditions

19. “Architecture is a curious craft”

20. HABIB REHMAN ( 1915 – 1995 )

21. Habib Rahman - One of the first generation architects to bring in Modernism to India 1950s – Post Independence – Political change, cultural ethos of India. Habib Rahmn introduced the Bauhaus style in the Indian context. He used Indian architectural elements Jalis Chajjas Dome Overhanging roof INTRODUCTION

22. A tower – A simplified profile of a temple shikhara, capped with an Islamic Dome and a horizontal projecting cantilevered slab projecting from from both sides appearing in silhouette somewhat like a cross which the ghat steps descend to the rive r . Column and cantilever – INSPIRED BY F .L. WRIGHT GANDHI GH A T KOLK AT A

23. UGC BUILDING NEW DELHI

24. Rahman was inspired from the Bauhaus ideology and building forms; hence, the UGC building is much like a box shape in overall form Being a Modernist building, it was designed for a functional purpose (classification of spaces being rational) Rahman broke the building into blocks, to fit the site . Being true to his modernist roots, he used R.C.C framed structure the grid was simple and thus, the linear form The columns are either visible as ribs or are free standing. Free standing columns are rectangular In shape with semi circular ends giving the illusion of slenderness-heavy structure resting on very little support CONCEPT

25. The facades were divided into horizontal chajjas n vertical louvers - almost like a skin protecting the building Rather than using the same articulation on back façade of the building, he provided two continuous overhangs on the windows- this expression was something new that any architect had used during that time - this would protect rooms from direct sunlight and also help cut down the heat load on ac system Not much ornamentation is done except the use of concrete jaali. Rather than going overboard with it, Rahman has used very limited amount of this expression at few places - end of corridors and at the ground floor parking of the North wing

26. The projected slabs and void space creates floating effect on the ground floor

27. RABINDRA BHAWAN NEW DELHI

28. EXHIBITION GALLE R Y ADMINISTR A TIVE BLOCK THE A TRE The building is divided into three major blocks- administrative building, exhibition gallery and theatre. The administrative block, which is the biggest of all, occupies prominent amount of space on the site. The architects vision was to make a bold statement and hold itself on the huge site- hence the monumental scale of the block. The Y - shape is chosen very thoughtfully to cover the maximum area on the site. Not only that, the shape of the block creates di f ferent sizes of pockets where other two blocks are P laced . Unlike other modernists, who tried to design their building like a piece of art and created large open spaces to view the building, Rahman broke his building into di f ferent blocks to create gali-like greets – which he borrowed from Indian architecture.

29. Reinterpreted form of chajjas in continuous horizontal louvers. Image showing rows of continous chajjas , where the louvered rows are placed on cantilievered brackets

30. “A building becomes architecture when it not only works effectively but moves the human soul .”

31. KARAN GROVAR

32. With a Degree in Architecture from Maharaja Sayajirao University of Baroda and a Graduate diploma from Architectural Association, London Architect Karan Grovar has concentrated on modern designs with traditional techniques of energy efficiency. Major Projects: Goa Assembly Building at Porvorim , Goa, 1993-2002. CII- Sohrabji Godrej Green Business Centre, Hyderabad, LEED Platinum rated building by USGBC, 2002–2003 District Office Complex at Bagalkot for Government of Karnataka, 2003-06 Institute of Quality for Confederation of Indian Industry, Bangalore using Passive Dow n-Draft Evaporative Cooling (PDEC) system, 2000–2001 Synthesis Business Park, Rajarhat , Kolkata for Bengal Shrachi Housing Development, sought for LEED Platinum rating of US-GBC, execution stage, 2005–2008 Minestone Diamond Processing Unit at Navsari , sought for LEED Gold Rating, 2005–2008 INTRODUCTION

33. DESIGN PRINCIPLES Technology, Tradition and Design: Passive strategies and design is crucial for every building, new technologies are there to support, but not to replace passive strategies. Green Community and Collective Benefit Look at the orientation of the building. Make sure that smaller surfaces are facing east and west. Design buffer zones on east and west facades like verandas, equipment rooms and staircases. Integrate screens to allow natural ventilation and cross ventilation to cool the building. Design inclined windows on the south façade to avoid direct sun radiation on the windows. Try to avoid any openings like windows on the east and west. Use ceilings which reflect the natural light and bring it deep into the room. Use green roofs and green walls. Design rainwater harvesting pits to collect all rainwater from the site

34. SOHRABJI GODREJ GREEN BUSINESS CENTRE HYDERABAD

35. Economical Energy-saving Environmentally-friendly Sustainable development. Sohrabji Godrej Green Business Centre in Hyderabad is a commercial building which consists of office buildings, research labs and conference rooms INTRODUCTION

36. Central courtyard. Roof garden - Protects heat penetration, cuts down heat-island effect High performance glazing to bring in natural light while minimizing heat ingress. Usage of light glazing and vision glazing. Jali (Perforated) wall for bringing in natural light as well as ventilation . Energy saving system. ENTRANCE CAFETERIA COURTYARD RESEARCH CENTRE OFFICE RESEARCH CENTRE

37. COURTYARDS

38. ROOF GARDENS

39. NATURAL LIGHTING

40. Jallis or Lattice walls are used to prevent glare and heat gain while ensuring adequate day lighting and views. The jalli , used in many historic buildings such as the Taj Mahal, gives definition and an aesthetic appeal to a space. USE OF TRADITIONAL MATERIALS

41. SYNTHESIS BUSINESS PARK HYDERABAD

42. INTRODUCTION Total Built up area - 4.7 lac sq.ft .( approx ) Building Height – 51.6 meters Building – B+G+11 storied Floor plate - 35,000 to 45,000 sq. ft. ( approx ) Floor to floor height – 4.2 meters Car Parking Ratio – 1:1000 Sq.Ft IBMS ( Intelligent building management system.) Air Conditioning and Mechanical Ventilation Sewerage Treatment Fire Fighting, Fire Detection & PA System Facade Glazing 100 % DG Power Back up

43. A B C Entrance Lobby with 4 Lifts Service stairs, Toilet, Pantry, AHU, Service Lifts

44. “In twenty years, a green building in India will reflect the Indian culture much better than these days where we are striving towards modern buildings copied from the West.”

45. THANK YOU !!! DHIR DHWAJ SINGH | GAURAV KUMAR | PRIYAVARTH SINGH STATE INSTITUTE OF URBAN PLANNING AND ARCHITECTURE 1304009 1304012 1304026