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![Orange County
Government Center
• The building was designed by noted architect and
dean of the Yale School of Architecture Paul Rudolph
in 1963 and built in 1967.
• A courtyard divided the portion of the building
hosting the executive and legislative branches from
the half that hosted County Court until the late
1990s, when the state's Court Facilities Capital
Review Board deemed the old courthouse unfit for
use.
• A new addition was built to its north to house the
courts and opened in the early 2000s, at
considerable cost and frequent delay.
• Its architecture has been subject to some criticism. At
the time of its construction it was called a
"monstrosity".
• The building has had problems over its life. It leaked
severely enough after a heavy storm in 1970 that the
Finance Department had to stretch a tarpaulin across
the ceiling.[2] Today many of its 87 roofs leak
• There have been some architects who have urged
the building's preservation, however, pointing to its
historic value, Rudolph's stature as an architect, and
the imaginative use of space within the building.](https://image.slidesharecdn.com/lecorbusierandpaulrudoplhworks-201129132646/75/Brutalism-Le-Corbusier-and-Paul-Rudolph-15-2048.jpg)
![REVERE QUALITY
HOUSE• The Revere Quality House is a house located
in Siesta Key, Florida that was designed by
architects Paul Rudolph and Ralph Twitchell.
• It is a breakthrough in twentieth-century
residential architecture which blends elements
of the International Style with site-sensitive
design that is considered one of the notable
examples of the Sarasota School of
Architecture.
• The house represents a substantial
advancement in how people should live within
their environment, and established a new
paradigm in tropical home construction
• Roberta Finney was a local patron and friend
of Ralph Twitchell. She provided a large flat
plot of land on Siesta Key, near a bayou that
spilled out onto the Gulf of Mexico.[5] This
location would facilitate any number of design
approaches.
• Although both Twitchell and Rudolph were
architects, the two had established a unique
relationship where Rudolph generally
produced conceptual designs, while Twitchell
translated them into buildable plans and
managed construction..](https://image.slidesharecdn.com/lecorbusierandpaulrudoplhworks-201129132646/75/Brutalism-Le-Corbusier-and-Paul-Rudolph-34-2048.jpg)
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Brutalism - Le Corbusier and Paul Rudolph
- 1. HISTORY PRESENTATION 1. LECOBUSIER (INDIA) 2. PAUL RADALPH
- 2. 1. LE CORBUSIERBUILDINGS IN INDIA • Mill Owners' Association Building • Palace of Assembly, Chandigarh • Villa Shodan 2. PAUL RUDOLPH BUILDINGS • Orange County Government Center • Rudolph Hall • Revere Quality House *INTERNATIONAL STYLE *BRUTALISM
- 3. LE CORBUSIERAlong with Miesvan der Rohe and Walter Gropius, Le Corbusier was instrumental in the creation of the International Style. This was a movement defined by rectilinear forms, open interiors and 'weightless' structures. Le Corbusier laid out these tenets in his five principles of new architecture, published in 1927. He advocated: • The Pilotis – a grid of columns to replace load- bearing walls, allowing architects to make more use of floor space. • Free floor plans – flexible living spaces that could adapt to changing lifestyles, thanks to the absence of load-bearing walls. • Free facades – open and closed sections that allow the facade to actively connect or separate interior and exterior design elements. • Horizontal windows – cut through non load- bearing walls, these strips provide even light and panoramic views. • Free facades – open and closed sections that allow the facade to actively connect or separate interior and exterior design elements.
- 5. • A ll b u i l d i n g a r e w i t h g o l d e n R a t i o ( 1 : 1 . 6 1 8 0 ) i m p l e m e n t e d i n t o t h e m a n d s u p p o r t e d b y a m o d u l a r s k e l e t o n ( i n s p i r e d f r o m m o d u l a r m a n ) • M a d e b u i l d i n g g e o m e t r i c a l l y c o m p o s e d , b y a d d i t i o n a n d s u b t r a c t i o n o f f o r m PRINCIPLES
- 6. Mill Owners’ Association Building • Indesigning the office, Le Corbusier understood the essence of the Association, very well. Since 1891, AMOA had provided an institutional framework for the close family ties of the city’s largely Jain, textile mill owners. Corbusier expressed the institution’s dual character - the public and the private - through his concept of the house as a palace (Une maison - un palais). • A ceremonial ramp makes for a grand approach into a triple height entrance hall. Arrival is on the first floor, where (as per the original design) the executives’ offices and boardroom are located. The ground floor houses the work-spaces of the clerks and a separate, single-story canteen at the rear.
- 7. Mill Owners' Association Building • Onthe second floor of the Mill Owners’ Building, the lobby is treated as "an open space defined by harsh, angular forms and the auditorium as an enclosed space delineated by soft, curvilinear forms …two contradictory elements that both need the other in order to exist.“ • On the third floor is a high, top-lit auditorium with a roof canopy and a curved, enclosing wall, in addition to a generous lobby. The east and west facades are in the form of sun breakers or brise-soleil, one of Corbusier’s many formal inventions, which, while avoiding harsh sun, permit visual connection and air movement.
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- 9. Palace of Assembly, Chandigarh • LeCorbusier has used his first design principle by utilizing Reinforced concrete in a grid throughout the Palace of the Assembly and are slightly altered to raise a large swooping concrete form high above the entrance. • Building is made in square units with spaces given in interval with the golden ratio.(second plan) • Frontal façade is given a more than usual height so that it satisfies the third principle.(open close) • Horizontal lengths of windows on the sides(fourth principle) • Free and usable terrace space (fifth principle)
- 10. • Key aspectsconsidered in designing Villa Shodhan included sun, wind, the view upon arrival and landscaping. • They could be addressed above all by the positioning of the facades which, with a diagonal orientation, allowed the incoming visitor a view over three-quarters of the building. • The design of the Villa Shodhan is structurally simplistic while still retaining plasticity in the treatment of the divided spaces. • The overall frame of the building is in raw concrete, with clear markings of the wooden formwork. • The frame is anchored to the ground, not elevated on stilts, a feature Le Corbusier used frequently in the 1920s. • A ramp provides access to the main and mezzanine levels, while the rooms are grouped around a triple-height terrace. The ramp also leads to accompanying stairs, providing access to the roof and terrace. VILLA SHODHAN
- 11. • A rampprovides access to the main and mezzanine levels, while the rooms are grouped around a triple-height terrace. The ramp also leads to accompanying stairs, providing access to the roof and terrace. • The terrace plays an important role in the natural climate control process, cooling down the bedrooms in the middle of the day and providing an alternate sleeping area during the summertime • Upon the parasol roof of Villa Shodhan, there is a garden abundant in thick grass and water troughs. • The vision of dense greenery is also reinforced by overrun plants and trees, seeming to camouflage the building and its environment. • The roof also features an oval aperture, which matches up with a hole in the lower slab roof, giving visitors a framed view of the sky. • This is almost mimicked by the pool, situated at the base of the ramp, aiming to bring the outside in. VILLA SHODHAN
- 14. PAUL RUDOLPH • Inone of Rudolph’s few articles, ‘Enigmas of Architecture’, written in 1977, he said • Architecture is used space formed for psychological and symbolical reasons. Architectural space overrides all its integrating elements and concepts by consciously forming enclosed voids to accommodate human beings in the totality of their psychic and physical life and in their various pursuits and intentions.’ • Rudolph explained that his goal in architecture was by now: • ‘to wed the programmatic and spatial concepts of the International Style to Wright’s more suitable handling of interior volumes of space.’ Orange County Government Cen Boston Government Service Cent
- 15. Orange County Government Center •The building was designed by noted architect and dean of the Yale School of Architecture Paul Rudolph in 1963 and built in 1967. • A courtyard divided the portion of the building hosting the executive and legislative branches from the half that hosted County Court until the late 1990s, when the state's Court Facilities Capital Review Board deemed the old courthouse unfit for use. • A new addition was built to its north to house the courts and opened in the early 2000s, at considerable cost and frequent delay. • Its architecture has been subject to some criticism. At the time of its construction it was called a "monstrosity". • The building has had problems over its life. It leaked severely enough after a heavy storm in 1970 that the Finance Department had to stretch a tarpaulin across the ceiling.[2] Today many of its 87 roofs leak • There have been some architects who have urged the building's preservation, however, pointing to its historic value, Rudolph's stature as an architect, and the imaginative use of space within the building.
- 16. Orange County Government Center •Described as monstrous by critics, during its construction. Had problems of leakage during heavy storms in 1970. • It is preserved by Architectural association after the flood in 2011, so that it can be a example of historic Architecture. • The whole complex is placed on a grid consisting of spaces that vary in width, creating a 3:1 rhythm with everything from walls to rooms. • Each of the buildings have a central courtroom, with seating ranging from 24 to 125 people per room. These are lit naturally with high ceilings that allow light from the undulating roof.
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- 22. • Block likestructure • Central courtyard • Natural lighting placement • Experimenting with levels • Mixing of spaces interior and exterior • Materials like steel concrete and glass • Not liked and welcomed by people because of brutal appearance • Materials not suitable for local weather conditions • Not cost efficient to heat the building in winters • Less visually pleasing appeal FEATURES
- 23. RUDOLPH HALL• Rudolph Hall,also known as the Yale Art and Architecture Building or the A & A Building, is one of the earliest and best known examples of Brutalist architecture in the United States. • The building houses Yale University's School of Architecture (it once also housed the School of Art) and is located in New Haven, Connecticut. • Monumental in its interlocking concrete forms, the building was designed to anchor a key corner site, • culminating an architectural procession that includes Yale University Art Gallery, • just across the street. With the centripetal force of a pinwheel, the A&A’s massing spins off of four complex concrete towers, with a fifth vertical shaft set to one side to house the elevators and main interior stair. • Up a run of front steps that pool metaphorically at the base of the building and nearly disappear into the shadows between two towers, • the interior unfolded with a panoply of interlocking spaces and planes—37 different levels terracing through seven stories, a penthouse, and two below- grade levels.
- 24. • The buildinghouses a great central, communal work space, surrounded by overlooks spanning four colossal piers. • Rudolph expressed the focal center as stacked double-height spaces: an exhibition area, rising from the piano nobile and ringed by an administrative mezzanine, and directly above it, a soaring architectural drafting room, surveyed by a cast of a Classical statue of Minerva. • Some of the restorations included washing and patching the windows which have brought out the exterior interplay of light and shadow, and massive volumes and voids. • The exterior concrete shell has been cleaned, ridding the fortress-like impressions associated with the building with over 40 years of grime. Inside, Rudolph’s vibrant “paprika” carpeting, a warm counterpoint to the A&A’s rough and ubiquitous concrete (inside and out), has been re-created, supplanting decades of mud-brown floor cover.
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- 34. REVERE QUALITY HOUSE• TheRevere Quality House is a house located in Siesta Key, Florida that was designed by architects Paul Rudolph and Ralph Twitchell. • It is a breakthrough in twentieth-century residential architecture which blends elements of the International Style with site-sensitive design that is considered one of the notable examples of the Sarasota School of Architecture. • The house represents a substantial advancement in how people should live within their environment, and established a new paradigm in tropical home construction • Roberta Finney was a local patron and friend of Ralph Twitchell. She provided a large flat plot of land on Siesta Key, near a bayou that spilled out onto the Gulf of Mexico.[5] This location would facilitate any number of design approaches. • Although both Twitchell and Rudolph were architects, the two had established a unique relationship where Rudolph generally produced conceptual designs, while Twitchell translated them into buildable plans and managed construction..
- 35. • Going backto the drawing board, Rudolph produced a new plan, loosely based on the Mies van der Rohe (Barcelona Pavilion); a scaled-down (1,000 square foot), linear, flat-roof, single-story structure, to be constructed almost entirely of concrete and glass. • The low roof (less than eight and a half feet off the ground) would be supported by steel perimeter poles, and extend beyond the frame of the house to create overhangs for shade. At one end, the roof overhang would extend several feet to serve as a carport. • The exterior walls were to be made of lamolithic panels, as well as floor-to-ceiling sliding glass doors that would open onto large exterior patio areas. • Jalousie windows were strategically positioned to promote natural ventilation and cooling. REVERE QUALITY HOUSE
- 36. • A holewould be cut into the roof to bring light into an incorporated screened-in porch (with grass inside) to further intermingle interior and exterior space. • The floor plan was simple and functional, highlighting a single space that conceptually consolidated living, dining, and patio areas. • One of the walls would incorporate a large copper-hooded fireplace (provided by Revere Copper and Brass Company). • This ‘great room’ would constitute more than half of the interior capacity of the house. • A small galley kitchen was positioned behind a partition wall, along with a narrow hallway that led to two corner bedrooms and shared bath. • It was a radical plan at the time, and to create it would require new building applications and methods.
- 38. END OF PRESENTATION ZOHABKV SP17ARU204